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CONTENTS Volume 38 • Number 5

Cover and contents photos by Rick Malkin

EDUCATION 66 DRUM COUNTRY

Train Beat Variations A Dozen Ways to Play One of the Most Essential Drumset Grooves by Jim Riley

68 ROCK ’N’ JAZZ CLINIC

Open-Handed Playing Discovering Rhythms Inside the Paradiddle by Claus Hessler

70 AROUND THE WORLD

Samba Starter Unlocking a World of Options by Adam Osmianski

On the Cover

50

JIM RILEY

74 STRICTLY TECHNIQUE

Rhythm and Timing Part 3: Single 16ths by Bill Bachman

76 JAZZ DRUMMER’S WORKSHOP

Shifting Sands Rhythmic Transition Examples by Steve Fidyk

by Ilya Stemkovsky

For more than a decade he’s rocked the world’s greatest concert venues with the superstars Rascal Flatts, in the process setting a standard for drumming in modern country music. But he’s just as influential when he’s home, guiding the careers of talented up-andcomers via his popular tutorials, well-attended clinics, and creative in-person lessons.

78 IN THE POCKET

Dubstep Drumming Part 1: The Basics by Donny Gruendler

EQUIPMENT 22 PRODUCT CLOSE-UP

• Zildjian Kerope Series Cymbals • Promark Select Balance Drumsticks • Brady Baritone Series Snare Drums • Aquarian Modern Vintage II and Deep Vintage II Drumheads

12 UPDATE

• Cage the Elephant’s Jared Champion • Gemini Syndrome’s Brian Steele Medina

30 SHOP TALK Gregg Keplinger by Jason Sutter

When heavyweight drum stars like Soundgarden’s Matt Cameron, Death Cab for Cutie’s Jason McGerr, and studio and touring ace Matt Chamberlain get obsessive with a drum maker, you know there’s something to the story.

34 ENCORE Miles Davis Bitches Brew by Jeff Potter

When it came out more than forty years ago, it blew open the doors for what was possible in jazz—and blew by those who preferred living in the past. Today, its double-drummer-fueled grooves still seem years ahead of their time.

26 ELECTRONIC REVIEW Nord Drum 2 and Pad

28 GEARING UP

Styx’s Todd Sucherman

82 NEW AND NOTABLE

DEPARTMENTS 8

AN EDITOR’S OVERVIEW

In and Out of Context by Michael Parillo

10 READERS’ PLATFORM

36 PORTRAITS Amadeus by Billy Amendola

The drummer otherwise known as Antwan J. Thompson lays down killer beats for R&B royalty like Diddy, Chris Brown, and Trey Songz. See where a childhood geeking out on Steve Gadd, Dennis Chambers, and Vinnie Colaiuta can get you?

16 ASK A PRO

Keith Carlock, Jeff Watts

18 IT’S QUESTIONABLE

Mind Matters: Married to the Demo

40 2014 READERS POLL RESULTS

This year’s poll includes the typical mix of established icons and first-timer faves. Find out who’s who in the hearts and minds of the world’s most knowledgeable drumming fans.

88 SHOWCASE Featuring Drum Market 91 CRITIQUE Featuring Taking the Reins 94 IN MEMORIAM

62 STEVEN SCHICK by Will Romano

Not many drummers have the conviction to put all their eggs in the basket of a brand-new, esoteric musical movement. But we’re talking about a guy who will walk hundreds of miles for love and dedicate hundreds of hours to learning a single piece of music. We should all be so courageous!

86 UP & COMING Rachel Fuhrer by Stephen Bidwell

“John Bonham is number one for me. Elvin Jones. Billy Cobham. I go through phases of pretty much everything.” For sure, Ume’s blistering indie rock is the better for its drummer’s diverse tastes—and intense delivery.

Chico Hamilton, Ricky Wellman

96 KIT OF THE MONTH Both Sides Now

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page 73

AN EDITOR’S OVERVIEW

In and Out of Context

Founder Ronald Spagnardi 1943–2003

A

Publisher/CEO Isabel Spagnardi

8 Modern Drummer May 2014

Margit Erb

t the MD offices, as you might expect, you’ll find some serious music obsessives on staff. Much of the talk around the lunchroom table has to do with albums new and old, gigs we’re playing or checking out, and debates on all sorts of musical topics. One subject that’s always good to chew on is the importance of historical context. In other words, how connected is a piece of music to its time and place? Can a recording ever exist separately from the circumstances under which it was born? Although we don’t usually intend to get into this stuff as we’re stuffing our faces, we find it coming up all the time in conversation. Personally, I see both sides of the argument as valid, and fun to consider. Cultural and sonic trends cannot help but have an impact on musicians in the act of creation, even if the players are consciously—or unconsciously—acting against current fads. But, as listeners, we’re not always aware of the year a record came out or where it falls within the artist’s discography. Say you’ve just become acquainted with Pink Floyd, to choose an example. You heard “Have a Cigar” on satellite radio, and you’re hungry for more. Do you pick up Wish You Were Here, the album the track is from? Do you go back to the group’s first disc, The Piper at the Gates of Dawn, so you can understand Floyd’s origins, and then go forward from there? Or do you just start clicking through random tracks online without knowing when or where they were recorded? You could make a case for each. An album like Miles Davis’s Bitches Brew, which is this month’s Encore, is another worthy case study. You would have a point if you said the 1970 recording just fell down to earth from outer space—a faraway planet where drummers come in pairs, jazz musicians don’t exactly swing, and great improvisers channel their skills into maintaining a vibe more than moving through a cascade of ideas. Conversely, you could say that Bitches Brew was a logical extension of the slow-burning groove concepts Davis began exploring on his previous album, 1969’s In a Silent Way. There’s no wrong answer, just great music. While you listen to music, do you ever consider the times in which it was made? When I heard Jeff Beck’s 1968 solo debut, Truth, long after becoming a huge fan of Led Zeppelin, I was surprised to find that Mickey Waller’s drum sound was remarkably similar to John Bonham’s on Zeppelin’s first album—also from ’68, also tracked in London. Historical context showed me that Bonham’s massive tones were in part a product of the time and place. And when you discover an artist you like, whether it’s through a performance or a recording, how do you tend to go from there? Do you head right back to the beginning, or do you allow life’s inevitable messiness to lead you around more or less randomly? Maybe it’s a combination, as it is for me. At times I’ve found it makes sense to begin at square one. For instance, I got the debut EP Chronic Town after discovering R.E.M.’s fifth album, Document, in junior high, and worked my way forward. And then there’s the zigzag approach, as I’ve taken with the zigzagging music of people like Frank Zappa and Captain Beefheart. I don’t consult a discography; I just let my friends or my whims guide me toward what to check out next. With Beefheart, no matter what other gems turn up, I find that my favorite album is his final recording, Ice Cream for Crow, from 1982. Can I explain that? Yep—it’s the first one I heard, and I couldn’t believe my ears.

Senior Vice President Lori Spagnardi Vice President Kevin W. Kearns Associate Publisher Tracy A. Kearns Editorial Director Adam J. Budofsky Managing Editor Michael Dawson Associate Editor Billy Amendola Associate Editor Michael Parillo Senior Art Director Scott G. Bienstock Art Director Gerald J. Vitale Jr. Advertising Director Bob Berenson Advertising Assistant LaShanda Gibson Digital Media Director EJ DeCoske Music Engraver Willie Rose The MD Pro Panel: Chris Adler, Gregg Bissonette, Jason Bittner, Will Calhoun, Terri Lyne Carrington, Matt Chamberlain, Jeff Davis, Peter Erskine, Bob Gatzen, Daniel Glass, Benny Greb, Matt Halpern, Horacio Hernandez, Gerald Heyward, Taku Hirano, Susie Ibarra, Jim Keltner, Pat Mastelotto, Allison Miller, Rod Morgenstein, Chris Pennie, Stephen Perkins, Dafnis Prieto, Rich Redmond, Brian Reitzell, Jim Riley, Antonio Sanchez, Gil Sharone, Chad Smith, Steve Smith, Todd Sucherman, Billy Ward, Kenny Washington, Paul Wertico The Modern Drummer Pro Panel is an open-ended group of professional drummers who contribute regularly to the magazine’s content. It represents an unparalleled amount of musical experience, which members share with readers across the spectrum of the magazine’s editorial mix. The Pro Panel was established in 2011, with multiple players added to its ranks during each of its first three years. Beginning in 2014, players are being added one at a time.

MODERN DRUMMER ADVISORY BOARD: Kenny Aronoff, Eddie Bayers, Bill Bruford, Harry Cangany, Dennis DeLucia, Les DeMerle, Len DiMuzio, Peter Erskine, Vic Firth, Bob Gatzen, Danny Gottlieb, Jim Keltner, Paul Leim, Peter Magadini, George Marsh, Rod Morgenstein, Andy Newmark, Neil Peart, Steve Smith, Billy Ward, Dave Weckl, Paul Wertico. CONTRIBUTING WRITERS: Patrick Berkery, David Ciauro, John Emrich, Mike Haid, Dr. Asif Khan, Rick Mattingly, Ken Micallef, Mark Parsons, Martin Patmos, Jeff Potter, Will Romano, Bernie Schallehn, Ilya Stemkovsky, Stephen Styles, Robin Tolleson, Lauren Vogel Weiss, Paul Wells. MODERN DRUMMER magazine (ISSN 0194-4533) is published monthly by MODERN DRUMMER Publications, Inc., 271 Route 46 West, Suite H-212, Fairfield, NJ 07004. PERIODICALS MAIL POSTAGE paid at Fairfield, NJ 07004 and at additional mailing offices. Copyright 2014 by MODERN DRUMMER Publications, Inc. All rights reserved. Reproduction without the permission of the publisher is prohibited. EDITORIAL/ADVERTISING/ ADMINISTRATIVE OFFICES: MODERN DRUMMER Publications, 271 Route 46 West, Suite H-212, Fairfield, NJ 07004. Tel: 973-239-4140. Fax: 973-239-7139. Email: [email protected]. MODERN DRUMMER welcomes manuscripts and photographic material but cannot assume responsibility for them. SUBSCRIPTIONS: U.S. $29.95, Canada $33.95, other international $44.95 per year. For two- and three-year subscription prices go to www.moderndrummer.com. Single copies $5.99. SUBSCRIPTION CORRESPONDENCE: Modern Drummer, PO Box 274, Oregon, IL 61061-9920. Change of address: Allow at least six weeks for a change. Please provide both old and new address. Call 800-551-3786 or 815-732-5283. Phone hours, 8AM–4:30PM Monday–Friday CST, or visit Subscriber Services at www.moderndrummer.com. MUSIC DEALERS: Modern Drummer is distributed by Hal Leonard Corp., 800-554-0626, [email protected], www.halleonard.com/dealers INTERNATIONAL LICENSING REPRESENTATIVE: Robert Abramson & Associates, Inc., Libby Abramson, President, PO Box 740346, Boyton Beach, FL 33474-0346, [email protected]. POSTMASTER: Send address changes to Modern Drummer, PO Box 274, Oregon, IL 61061-9920. Canadian Publications Mail Agreement No. 41480017 Return undeliverable Canadian addresses to: PO Box 875, Stn A, Windsor ON N9A 6P2 MEMBER: National Association for Music Development, National Association of Music Merchants, Percussive Arts Society MODERN DRUMMER ONLINE: www.moderndrummer.com PRINTED IN THE UNITED STATES

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READERS’ PLATFORM JANUARY ISSUE As an old-school type of guy I like to have the latest issue of MD in my hands to read. I appreciate that every issue comes to me in digital form, often a day or two earlier than my hard copy, but I still wait for my magazine to come in the mail. The January 2014 issue was great. Everything from Michael Parillo’s Editor’s Overview explaining his appreciation for Abe Laboriel Jr. while sitting in the nosebleeds at the Barclays Center to Bernie Schallehn’s advice on how to handle bandleaders and drumming

styles to Rascal Flatts drummer Jim Riley’s interview with another Nashville heavyweight, Seth Rausch. What I really liked about the Seth Rausch article was his admiration for the late Carlos Vega. I too am heavily influenced by Carlos; however, I hadn’t heard his playing on the Matt Rollings CD Balconies. I ordered a copy from Amazon.com, which is now in heavy rotation. The CD shows another side of Carlos’s playing that I’d never heard. Think Michel Camilo Trio, back when Dave Weckl was in the drum chair. What a gem of a find, and all because of the sidebar of Seth’s

favorite recordings. Finally, what a nice tribute to a true legend in the drumming world, Ed Shaughnessy. A beautifully written story by Rick Mattingly describing Ed’s career, which spanned more than five decades. Keep up the great work, MD, and thanks for making this forty-seven-year-old drummer feel like a kid every time my issue arrives in the mail. John Rogers

CHUCK SILVERMAN I’ve been an avid subscriber to Modern Drummer for over thirty-five years and counting. I just wanted to say how much I enjoyed Chuck Silverman’s article in the February 2014 issue, “Latin Rhythms in Pop Music, Part 2: Afro-Cuban.” I would like to point out that the 6/8 half-time shuffle groove that Chuck credits to Adam Deitch was predated by Omar Hakim on his 1989 album, Rhythm Deep. This four-over-three groove is played in the bridge section of the closing track, “The Mystic’s Glance.” David Novis

MELVIN DAVIS I am a longtime subscriber and try to read every issue cover to cover. With the individual drummer articles, I’ve found that after a few paragraphs I start to develop a feeling of whether I would enjoy talking to that particular artist or not. No offense to anyone, but it seems that some folks come across better than others in print. So I started reading the Melvin Davis article (What Do You Know About…?, February 2014)…wow! What a great story of persistence and being true to yourself. Mr. Davis certainly deserves any success he gets from his music. Congrats, and thank you for sharing your story! Tony Stephan

MIKE PORTNOY I really enjoyed the recent interview with Mike Portnoy (October 2013). I think his humility and his aim to touch people while drumming are really notable and inspiring. Furthermore, reading the article brought me to the past September, when I met him during the Winery Dogs’ European tour, one of the best experiences I ever had. So thank you very much, MD—greetings from Italy! Alessio Poggio

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U P D ATE

Cage the Elephant’s

JARED CHAMPION C

age the Elephant’s third album of genre-crunching power pop, Melophobia, channels garage rock, punk, and ’80s alternative rock with abandon. Drummer Jared Champion handles these sprawling rhythmic collisions like a thumping Keith Moon as often as he plays it straight in the pocket. “Rhythmically speaking, this album was pretty challenging,” Champion says. “I wanted my drum and percussion parts to stand out but feel right for the song. ‘Telescope’ and ‘Cigarette Daydreams’ are standard 4/4 beats, but there are several songs on the album that have meter shifts. ‘Spider Head’ goes from 4/4 to 6/8 at the end, and

12 Modern Drummer May 2014

Getting freaky with it

the pre-chorus to ‘It’s Just Forever’ has a breakdown that’s not in any particular time signature. It’s totally based on feel, and the band just followed me. Same thing with the drum break in ‘Teeth.’” Champion, who plays a Gretsch USA Custom four-piece kit (14x24 kick, 6.5x14 snare, 8x12 rack tom, 16x16 floor tom) and Zildjian cymbals (14" A Custom hi-hats, 14" A Custom FX, 18" K Custom Dark crash, 19" Constantinople crash/ride, 20" Medium ride), was also unafraid to experiment with found sounds on Melophobia. “On one track,” he explains, “I played a cardboard box as the kick drum and a marching snare case as the snare drum. I also played a toy

kit, a metal trash can, a hot dog pan, shakers, tambourines, and claps. “‘Teeth’ was particularly interesting,” Champion adds. “We ran ten-foot cardboard tubes to my snare and kick and placed mics in the other ends. We then ran those mics through a DigiTech Whammy pedal and plug-ins. The bass melody is actually coming from my kick and snare. The low notes are the bass drum, and the higher ones are my snare drum. Then we looped the last cymbal crash and threw some horns over the top. That’s one of my favorite parts on the album.” Ken Micallef

Gemini Syndrome’s

BRIAN STEELE MEDINA W

ith a background in drum corps and an equal love of ’90s alternative rock, contemporary classical music, and hip-hop, Brian Steele Medina approaches Gemini Syndrome’s pummeling rock with a unique brand of laser-like focus and execution. “From age four,” he says, “I was the quintessential kid that pulled out all the pots and pans, went to town, and drove my mom crazy. I’ve always been a student and always learned from teachers. I studied with Mel Zelnick [Benny Goodman] for about six years, and he got me reading music and into Syncopation. Later I got into marching band, and that was the first time school was fun for me. We were very aware who was coming from drum corps, like Chad Sexton and Vinnie Paul, and we’d take the time to learn all their stuff because we knew there would be cool drumming in there. “When you come out of drum corps,” Medina continues, “you have crazy hand chops but no feet chops, so I was in a constant practice mode of having my feet

catch up to my hands, playing along to Pantera, Tool, and Primus and also working out of Gary Chester’s The New Breed.” The dark, urgent songs of Gemini Syndrome’s debut album, Lux, give Medina ample opportunity to exhibit his highly developed control at the kit—though wrenches do get thrown into the works. “Producer Kevin Churko, who’s also a drummer, would have me do a take that I liked,” Medina says, “then another where I went crazy. Then he’d ask if there was anything that I liked from those takes. He wanted that energy. It brought me out of my shell to the point where I wasn’t holding anything back. I didn’t want to overplay and be that guy, but I trusted him.” Watching Medina live, you immediately notice his interesting kit setup and visual flair. “Everything’s completely flat, and I’m a heavy tom-groove-oriented drummer,” he explains. “I have one tom to the left of my hi-hat, one above my snare, and two to my right. When I want to play my two lowest toms, I’m hitting on both sides, left

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and right. I’ll also work in alternate stickings, stick tosses, and cymbal stops to make the show look interesting without taking away from any of the parts. It’s my own personal challenge to take something that sounds basic on the recording and figure out a way to do it live so that the audience wonders, How is that even happening?” Ilya Stemkovsky

ON TOUR Alex Solca

Billy Rymer with Dillinger Escape Plan /// Daniel Williams with the Devil Wears Prada /// Paul Koehler with Silverstein /// Rian Dawson with All Time Low /// Logan Kroeber with the Dodos /// Jay Postones with Tesseract /// Nick Augusto with Trivium Steve Smith and Selvaganesh with Zakir Hussain and Masters of Percussion. “I’m thrilled to be one of the musicians on this tour,” Smith tells MD. “It’s an invitation to play percussion-based music at the highest level. Zakir has taught me much over the past ten years, and to be on an extended tour together will be the perfect situation to develop an even deeper musical rapport. I look forward to playing with, and learning from, Zakir, Selvaganesh, and the other fantastic musicians on the MOP tour!”

OUT NOW The Used Imaginary Enemy (Dan Whitesides) /// 311 Stereolithic (Chad Sexton) /// Neon Trees Pop Psychology (Elaine Bradley) /// Man Forever Ryonen (Kid Millions, So Percussion) /// Chiodos Devil (Derrick Frost)

WHO’SPLAYING PLAYINGWHAT WHAT WHO’S Tré Cool is now playing SJC Custom, which has released a limited-edition drumset and snare honoring the Green Day drummer. Only thirteen Tré Cool Bunny kits and matching snares will be available for purchase. “I knew Tré was a huge vintage drum collector,” SJC’s Mike Ciprari says, “so I wanted to design a kit that paid homage to a classic design yet had the Tré Cool flair to it.” The drums were inspired by Ludwig’s 1940 “top hat and cane” finish. SJC is also making twenty Dookie 20th Anniversary snare drums (shown at left at the 2014 NAMM Show) to celebrate Green Day’s 1994 breakout album. Maik Feldmann (Betontod), Gerit Lamm (Xandria), Jón Geir Jóhannsson (Skálmöld), Paul Oliver (O.D.S.), Gareth Hunt (Buffalo Summer), Tim Bye (Jake Emlyn, Tony Hadley), and Christian Mardini (Blacklite District) are playing Paiste cymbals.

NEWS SIMON PHILLIPS LEAVES TOTO

Alex Solca

Steely Dan/Mike Stern Drummer Keith Carlock Begins Live and Studio Work With the Band

Simon Phillips

Simon Phillips has announced his amicable exit from the group in which he admirably replaced the legendary Jeff Porcaro twenty-one years ago. “Being a member of this band was a wonderful experience,” Phillips posted on his Facebook page on January 24, “and I have learned so much. I greatly appreciate how Luke, Dave, and Mike welcomed me at such a difficult time in the band’s career after Jeff’s passing. I want to thank Toto fans around the world for embracing me, for their genuine enthusiasm, and

their love and support.” Carlock shared this on his own Facebook page: “I am absolutely thrilled to officially announce that I have been asked to take over the drum chair for Toto, and of course I gladly accepted! I am very excited to join this legendary band, VERY big shoes to fill, but I’m gonna do my thing and have fun!” The drummer, who added that a new Toto recording is in the works, will make his first appearances with the band in Japan in late April. Look for more with Carlock in an upcoming issue of MD.

Dinah Gretsch, executive vice president and CFO of the Gretsch Company, has been honored by the Women’s International Music Network (WiMN) with the organization’s 2014 She Rocks Award. As a leader in the music industry, Gretsch was recognized for her unique talents, accomplishments, and philanthropic works. The presentation took place at a ceremony on January 24 at the Anaheim Marriott Hotel in Anaheim, California, during the 2014 NAMM trade show. Other 2014 She Rocks honorees include percussion icon Sheila E, Hendrix Experience CEO Janie L. Hendrix, Dinah Gretsch Guitar Institute of Technology program director Beth Marlis, West Music Company president and CEO Robin Walenta, Seymour Duncan custom pickup winder Maricela Juarez, singer-songwriter Gaby Moreno, and guitarist Malina Moye. “I’m very proud to recognize the legacy of these women,” WiMN founder and She Rocks Awards host Laura B. Whitmore says. “By inspiring and encouraging fellow women in the industry, each one of these recipients embodies the spirit of the She Rocks Awards.”

Alex Solca

DINAH GRETSCH, SHEILA E AMONG RECIPIENTS OF 2014 SHE ROCKS AWARD

Sheila E at the 2014 Imagine Party, hosted by the John Lennon Educational Tour Bus and the NAMM Foundation this past January 24, the same day the percussionist was honored at the She Rocks Awards

SABIAN ANNOUNCES ALLIANCE WITH CYMBAL MASTERS AND ACQUISITION OF BILLDIDIT INC.

Sabian CEO Andy Zildjian and Crescent CEO Michael Vosbein

To meet the demands for new cymbals by customers and artists, Cymbal Masters of Kennesaw, Georgia, will begin offering select models of its Crescent line in North America, handmade to its specifications by Sabian. “I’m very happy to be working with Cymbal Masters,” Sabian CEO Andy Zildjian says. “I’m impressed with their passion for and knowledge of cymbals. This is an opportunity to expand our tradition of hand-hammering cymbals, originally brought to Sabian by Kerope Zilcan.” Crescent CEO Michael Vosbein adds, “This new relationship offers Crescent the

chance to expand our sound palette with production on two continents, taking advantage of the best craftsmanship in both the old and new worlds.” In other news, it’s been announced that the drum hardware and accessories maker Billdidit, of Nova Scotia, Canada, is now part of the Sabian group of companies. According to Sabian, Billdidit hopes to spark innovation in the music products industry by offering one-stop shopping for design assistance, 3D printing, advanced CNC machining, and electroplating.

Introducing The Mars Series All Mars Series drums feature the SONIClear™ Bearing Edge, which allows the drumhead to sit flatter and make better contact with the shell. The result is a stronger and deeper fundamental pitch, effortless and consistent tuning, and a significantly expanded tuning range. The Mars Series includes a whole world of new features, including a line of hardware in either chrome or black-plated finish.

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This Month: Toto’s

KEITH CARLOCK

Tom Schwarz

The absolute essentials for me to achieve my sound are specific cymbals, sticks, and bass drum tuning. I love the open bass drum sound when I can get away with it in certain musical situations—no muffling, no hole in the front head. Just wide-open tone, like my toms. The Evans G1 Clear head on the batter side helps me achieve the perfect balance of low end, sustain, and sonic control. With that vibe underneath it all, I gravitate toward big, washy, and warm cymbals with lots of sustain. My Zildjian K series cymbals give me that, especially my beloved 20" and 22" K Constantinople Medium Low rides. I ride and crash on all my cymbals, so I find ones that have both qualities and also have some stick definition. And lastly, my Vic Firth Signature model sticks help me execute my ideas and get the sound that I hear on the cymbals and drums. They feel great in the hands due to the lacquer, and the special dimensions make playing my ideas a lot easier. And then, of course, playing from my heart and soul every time I sit down behind the drumkit helps me achieve my sound as well!

BACKThrough the STACK In September 1985, we asked the Wynton Marsalis Quintet’s Jeff Watts to describe his use of nuance and shading. It has to do with the displacement of a musical idea. If an idea is musical in one part of a tune, then it can be placed in another part of the continuum and still be musical. I try to learn fragments of music and inject them at different points. There are two ways to approach an abstract conception of things. You can learn all the possibilities of what to play and how to execute it. What I’ve been trying to do is take examples of different musical motifs, which may come out rhythmically, tonally, or thematically, and initiate them in different places—maybe half a beat earlier or in the middle of a phrase. I got this idea from listening to Brazilian music, where they have these fills that sound kind of inverted coming in on the other side of the beat. Whenever they come in, it’s like at the top of the tune. So I’ll hear figures from, say, a Count Basie tune, and I’ll invert that and turn it around, and that’ll create a theme. The band will play off that, and it’ll create a fugal effect. I also try to take things from different parts of the same tune— maybe an idea that was left over from the middle of someone’s

solo—and I’ll invert it and come up with something new. Something that reinforced this concept was a live tape of Thelonious Monk and Charlie Rouse playing “Well You Needn’t.” What Monk did as an accompaniment figure was play the B-section material under Charlie’s solo on the A section; then, on the bridge, he would reharmonize the A-section theme under the solo. I looked upon that concept as something that was abstract yet simple. So with that displacement of ideas, I’ll try to imply different parts of different spaces of the musical continuum yet allow everyone to have a clear idea of where they are at all times.

To read the entire Jeff Watts feature—and all the other great material from the September 1985 issue—go to moderndrummer.com and click on the App Store link. 16 Modern Drummer May 2014

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IT’S QUESTIONABLE

Mind Matters by Bernie Schallehn

Married to the Demo A local recording studio owner throws me a good amount of work. Much of it comes from young solo artists who arrive with a demo they’ve made with their friends. Often the drumming on them is pretty bad. Here’s my problem. Sometimes when I lay down a drum track that I think is right for the song, the artist ends up complaining that I didn’t play it like the demo. I don’t want my work going out into the world sounding “wrong,” so I feel I’m in a no-win situation. Do I simply sacrifice my integrity, recut the track to sound like the demo, and collect my fee? M.S. Here’s a story for you. A young screenwriter goes to Hollywood, and he’s extremely lucky because he soon connects with a major studio head and sells him a script. A couple years pass, the movie is made, and it hits the theaters. When the screenwriter goes to the premiere, he’s never been so disappointed in his entire life. The movie looks nothing like the script he wrote. Characters, settings, and plot lines have all been changed. A few days later—in a rage—the screenwriter demands a meeting with the studio head. “You changed everything about my story!” he screams. “You destroyed my script!” Having been through this scenario many times before, the studio head just sits there calmly. Finally, he speaks: “Son, that script you sold us was indeed yours…up until the time when you cashed the check.” In your case, you’re a hired gun. You get paid to track drums. Some of your clients aren’t happy with your product because they’ve gotten so used to the drumming they’ve heard on their demo. Here’s what you could do…. Sit with the artist and explain—in layman’s terms—why you changed the drumming from what was tracked on the demo. (Don’t slander the demo drummer, because he or she is probably the artist’s friend.) See if you can find a happy medium between what you want to play and what the artist wants to hear. You’ve heard the complaint in a global sense—“It’s not like the

18 Modern Drummer May 2014

demo”—but push for specifics. The request might be for more “crash and bash,” more fills, or even more cowbell. You won’t know unless you ask, and the changes might be very slight. You’re forgetting that everything about this project is the artist’s. You’re merely one person hired to help make it happen. You’re a cog in the machine. If the two of you can agree on some changes, do your best to lay down a track that satisfies both parties. Should the artist not want to discuss anything, demanding that you play like the demo or else you’ll be replaced, then suck it up and pocket your pay. You can’t please everyone in this world, and it’s a recipe for madness should you try. I understand your concern about integrity regarding your work. You said that some of the artists you work with are married to their demos, but not all of them. Do some soul searching. Can you live with some tracks going out into the world if they aren’t up to your standards? Also, your opinions and prejudices may be getting in the way of hearing certain demo drumming as acceptable for you to emulate. When I listen and isolate drum tracks on a song, I might find myself thinking, Hmm…I would have put a cymbal crash there or That fill isn’t needed. But these are my opinions and not necessarily what has to be in the song. We’re all comfortable with what’s familiar to us. These artists have probably listened to their demos endless times. It may sound like crap to you, but they’re close to it. When changes for the finished product—like your drums—come in and disrupt that homeostasis, they can sound and feel foreign. Keep that in mind when someone complains about your drumming. In other words, don’t take it personally. Bernie Schallehn has been a drummer and percussionist for over forty-five years. He holds a master’s degree in counseling psychology and, while in private practice, held the credentials of a certified clinical mental health counselor and a certified alcohol and substance abuse counselor.

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© 2014 OCDP

Available at these preferred resellers.

VENICE KIT in TUSCAN RED (also available in DESERT SAND)

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ildjian spent the past couple years developing a new line of cymbals with New York City studio drummer/composer Zach Danziger that would recall the worn-in look, soft feel, and warm tones of highly coveted models made by the company in the ’50s and ’60s, while also providing extra projection and durability for contemporary playing styles. This new

KEROPE SERIES CYMBALS by Michael Dawson

crash/rides ($349.95, $389.95, $409.95, and $479.95). Each piece is handcrafted in the United States from proprietary Zildjian bronze and features a patina finish and a small K Kerope logo.

14" AND 15" HI-HATS

The two sets of Kerope hi-hats have an old-school look, and they elicited similar darker tones, but Authentic vintage vibe plus modern dependability makes for some of the most intriguing creations coming the pairs performed out of Zildjian’s Sound Lab in Norwell, Massachusetts. differently from one another. The 15" pair have a larger playing series, which is called Kerope in tribute to area, and they had a deeper, darker, and the former Zildjian president and master more complex stick sound with a low craftsman who established the thin and pitch and thick foot “chick.” The stick highly resonant K line in the late 1800s, articulation wasn’t super-clean, but the comprises 14" and 15" hi-hats ($479.95 cymbals offered a firmer feel than some and $519.95) and 18", 19", 20", and 22"

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vintage hi-hats, which tend to have a more papery timbre. (The Kerope hi-hats were intentionally designed to project better in live situations.) I preferred these chunkiersounding hats when paired up with some earthy-sounding drums and when struck more forcefully with the shoulder of the stick, à la R&B greats Al Jackson Jr. and Steve Jordan. Some jazz drummers might prefer these for their deeper and wider sound (think Brian Blade meets late-era Tony Williams) and their ability to remain expressive at lower dynamics. The 14" Kerope hi-hats proved to be more versatile, with a smoother, crisper sound, whether I was playing classic Papa Jo Jones–style swing, funky Bernard Purdie–type “barks,” sticky reggae shuffles, or intense indie-rock grooves. I compared these hats to my favorite set of A Zildjians from the ’60s; they had a similar soft feel

and warm sizzle, but with a bit more “edginess.” Danziger’s reference for the Kerope hi-hats was a video of Steve Gadd playing with the funk/fusion band Stuff back in the ’70s, and they’re pretty much spot on.

20" AND 22" MODELS The 22" Kerope was the first cymbal that Danziger and Zildjian worked on, and it had a gorgeous, wide wash and a clean, low-pitched stick sound. I recently relearned Tony Williams’ solo on the Miles Davis track “Seven Steps to Heaven,” and this cymbal was the closest I could find to replicating that classic ride tone. It wasn’t as trashy as some of the company’s “old-K style” Constantinople models, and the bell has a lower profile, which gave it a more integrated sound that elicited a nice, warm wash. The crash of the 22" was big, dramatic, and lush. The 20" Kerope was a little less washy

than the 22", and it had a trashier undertone, making the crash faster, more explosive, and grittier. The stick articulation was a bit clearer, but the sustain wasn’t as controlled as it is with some 20" rides. The two worked great as a pair, with the 22" better suited for heavier, washier riding, while the 20" provided more clarity from the tip of the stick.

18" AND 19" MODELS These two cymbals functioned well as crashes and as rides, and they were my favorites in the series. The 18" had everything I look for in a large crash, from the warm and explosive attack to the even sustain and smooth decay. The big surprise was how well it functioned as a ride cymbal, with a clear, higher-pitched stick articulation and a breathy, controllable wash. I love post-bop great Joe Chambers’ clean but earthy ride sound

PROMARK A

on classic Blue Note records, like Wayne Shorter’s Adam’s Apple and Joe Henderson’s Mode for Joe, and the 18" Kerope had a similar vibe. The 19" Kerope had a wider and more complex crash than the 18", and the ride sound was bigger than I expected. For most of my acoustic gigs, where I’m playing everything from Sonny Rollins hard bop to Surfaris surf rock and Jimi Hendrix jams, I’d be content using just the 19" and the 14" Kerope hi-hats, as they can cover a wide range of styles and textures and respond very well to changes in touch and dynamics. The same can be said of the other Keropes: These are highly musical cymbals designed to provide vintageloving drummers with more dependable instruments for everyday use. zildjian.com •

SELECT BALANCE DRUMSTICKS by Michael Dawson

To launch its new and improved sticks, D’Addario developed the Promark Select Balance series, which comprises the five most popular diameters—.535" (7A), .550" and .565" (5A), .580" (55A), and Is it time to say goodbye to the seemingly .595" (5B)—with a shoulder taper that’s random way we categorize drumstick sizes? cut to create either more forward throw or enhanced rebound. All of the sticks With the streamlined Select Balance series, are made from hickory and come with Promark thinks so. a versatile teardrop tip. The change in taper makes a significant difference in the response of the sticks, with the Forward Balance focused on redeveloping its drumstick brand, versions having a heavier feel and more powerful Promark. The first step was analyzing each part of sound, while the Rebound Balance sticks feel lighter the manufacturing process to determine where and quicker. changes needed to be made to improve the product. In a blind playing test on a practice pad and a Since D’Addario owns its sawmill and sources its drumset, we were able to easily discern the two own wood, the company was able to tweak specific types. Although it’s not as significant a difference details in order to create what it claims to be “a high as there is between maple and hickory sticks (a percentage of sticks with a parallel grain.” lighter versus a more solid feel), having the two The most notable change was that Promark taper options does allow you to fine-tune your stick abandoned traditional lathes for a new “centerless” of choice. Or you can mix and match the two, like grinding system based on a digitally controlled using the Rebound version in your ride hand for wheel. The company also invested in new weightmore dynamic control and the Forward version in and tone-sorting equipment to improve the your snare hand for stronger and more powerful consistency between sticks and from pair to pair, and backbeats. The list price is $15.25 per pair. it’s implementing a reforestation initiative where it promark.com replaces every tree it cuts down with five new ones. • fter investing considerable time, effort, and money into redesigning its drumhead business with the Evans Level 360 line, D’Addario has since

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BARITONE SERIES SNARE DRUMS by Michael Dawson

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rady snare drums are coveted by top studio and touring drummers for their unmatched power and thick, meaty tones. All of these limited instruments are handmade in the company’s facility in Australia, and they’re offered with traditional ply shells, one-piece

The trademark Brady “thwack” with an extended low-end response makes the Baritone series a serious force to be reckoned with.

Lemon Scented Gum

Jarrah/Lemon Scented Gum

solid shells, or block stave shells formed by gluing together vertical chunks of wood. Brady creates its drums from super-hard indigenous Australian timbers, which also contributes to the accentuated attack and focused sustain. New for 2014 is the Baritone series, which was devised by drum builder and company founder Chris Brady in order to lower the fundamental note of the shell for drummers who prefer deeper snare tones. To do this, Brady carves in the center portion of the outer wall of the shell, between the lugs, lowering the overall mass and thickness, which translates into a lower natural pitch. Company rep Kelly Brady says that Baritone drums “behave as if they’re thinner. It’s like a cross between a block and a ply shell.” It’s an ingenious idea, so we were very curious to check out the results. Brady sent us two Baritone snares: an 8x14 Lemon Scented Gum and a 7x13 Jarrah/Lemon Scented Gum. Each came with a Remo Coated CS batter head, ten tube lugs, 2.3 mm triple-flange steel hoops, and washers on the tension rods to help maintain tuning. The 8x14 was a beastly drum, and when tuned medium (85 on a DrumDial) it produced a deep, throaty sound with useful, musical overtones; a strong, smacking attack; and a crisp snare response. When I tuned the batter head up as high as it could go (90), the overall tonal characteristics remained fairly consistent (thick, deep, punchy, crisp), but the overtones became shorter and the attack tightened up for more “pop.” As I explored the entire tuning range, I found that the drum sounded consistently great at any tension, which is perfect for studio drummers who often make slight tuning adjustments to match the pitch of the drum with the key of the song being recorded. If I had to choose a preferred tuning, however, I felt that this drum outperformed many others in the fatback low-mid range. For tighter tensions, Brady’s 7x13 Jarrah/Lemon Scented Gum is where it’s at. The combination of the lower fundamental of the Baritone shell and the smaller diameter created an exceptional snare sound with a pleasing high-end attack that was always supported by fat, beefy low tones. So go ahead and crank it—it won’t choke out. Or detune it all the way for an ultimate disco punch that also contains some crucial high-end clarity. For all-purpose use, medium tension provided the best blend of shell tone and stick “crack,” while medium-tight brought out the most “bark.” Both drums possessed supreme presence, regardless of how they were tuned. bradydrums.com •

AQUARIAN A

quarian’s Vintage series started with two single-ply coated models, the Modern Vintage and the American Vintage, the latter featuring an oversize hoop to accommodate the diameter inconsistencies that often plague older drum shells. Both are designed to make drums look and sound as if they’re outfitted with calfskin heads. The series now

MODERN VINTAGE II AND DEEP VINTAGE II DRUMHEADS by Michael Dawson

their modern-made drums. We checked out the new heads on some cherry-shell toms, which had come with single-ply coated heads on both sides. When tuned to their lowest possible pitches with the stock heads, the drums produced a warm, clear, sustaining sound, but the attack was a bit papery. After swapping out the batter with the Modern

Combining 2-ply punch and durability with exceptional warmth and depth, these old-style drumheads are bound to find a permanent home among those craving classic tones from more modern-sounding drums. includes two double-ply models: Modern Vintage II and Deep Vintage II. Modern Vintage II heads are made using two plies of 7 mil film, while Deep Vintage II heads have two 10 mil plies. Neither of these Vintage series heads comes with the oversize American Vintage hoop, so the new models aren’t meant to be a two-ply solution for older, out-ofround drums. Rather, they’re a more durable, punchier, and deeper-sounding option for drummers looking to warm up the sound (i.e., fewer high overtones) of

Vintage II, we noticed that the drum still sounded warmer with a nice sustain, but the note was clearer and the attack was a bit less distorted. While I’d likely have to add a bit of tape to the stock heads to control the overtones, the MVII produced a more microphone-ready sound without any muffling. The difference between the Deep Vintage II and the stock heads was more drastic. Most notably, the decay of the DVII was significantly shorter, so there wasn’t much sound lingering on after the initial

attack. Some drummers might prefer that, especially when playing miked up; those who like punchy, kick-like tom tones might favor it as well. If you’re more of a meat-and-potatoes drummer who milks the most sound out of each stroke, these heads might leave you feeling a bit naked. I was able to achieve a little more sustain and decay from the DVIIs when I tuned them a touch higher. In fact, the sweet spot seemed to be about a quarter turn tighter than the MVII and the stock single-ply batter. For really tight bebopstyle tones, the MVII offered the best combination of articulation and openness, but both models performed best in the low and medium-low tuning range. The bass drum versions of the MVII and DVII come with a vertical felt strip adhered to the underside of the head, and each model provided a warm, classic sound, whether the kick was tuned low and open for an orchestral-type “puff” or slightly higher and muffled for a clean, Porcaro-like punch. The DVII produced a chestier thump, while the MVII had a longer sustain with airier overtones. aquariandrumheads.com

ELECTRONIC ELECTRONICREVIEW REVIEW

NORD

DRUM 2 AND PAD by David Ciauro

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ince the ’80s, the Swedish company Nord has been a trailblazer in the realm of digital percussion. Its latest offerings are the Nord Drum 2—a unique drum synthesizer with a vast library of sounds and ways to manipulate them—and the six-surface Nord Pad for triggering.

TECH SPECS The Drum 2 ($699) is a six-channel percussion synthesizer that divides the sound generation into three sections (Tone, Noise, and Click), allowing users to have specific control over tonal manipulation in real time. The Tone section offers three modes of synthesis. The Resonant mode has a diverse range of tunable sounds, including drumheads, marimba, vibraphone, tines, and cymbals. The Subtractive mode

useful Solo Edit feature allows you to hear only the section you’re currently editing. The input signal path is routed first through the Tone, Noise, and Click sections, and then the Tone/Noise and Click levels are blended to your desire. Channel effects allow you to then take each sound you designed to even more specific places by adding different distortions, EQ, and repeats (echo/delay). Once you’ve shaped and tweaked a sound, you can select an overall level and pan to your liking.

FUNCTIONALITY The Drum 2 is intuitive to use on a novice level and increases in function and performance depending on your knowledge base. For example, my first task was simply using the module to trigger a

sounds, Channel 2 the snare sounds, and Channels 3 to 6 the toms (in the banks that are more kit oriented, as opposed to percussion or sound effects).

EXPANDED FUNCTION The Nord Pad (sold separately for $499) has a streamlined design with no other function than being a playing surface for the module. It connects via a CAT6 (Ethernet) cable, and it doesn’t clutter up space by needing an external power source. The six rubber pads are sturdy and nicely sized, and they proved to have a comfortable feel and excellent dynamic response. You can update the operating system of the module on either a Windows PC or a Mac using a MIDI interface from norddrum.com. There’s also a free Nord Drum 2 Manager application for transferring program banks. And iPad users can download a free sequencer application, called Nord Beat, which has a user-friendly step sequencer interface.

Compact and powerful, the Nord Drum 2 provides all the synthesized percussive sounds you could need, and then some. consists of Sine, Saw, Square, and Pulse waveforms. Six FM algorithms make up the FM synthesis mode, where changing the timbre parameters adjusts the amount of modulation. The modulation frequency is controlled by the Spectra parameter. Other parameters include dynamic timbre, punch, decay, and pitch bend. The Noise section features different filters, attack rates, decay, and resonance that allow you to sculpt each sound, from clean to pure noise or from smooth to very warped. The Click section is for enhancing the attack of each sound and comprises a decent offering of short click sounds and a level control for a coherent blend. The 26 Modern Drummer May 2014

bass drum sound for my in-ear monitor mix on a gig. Without referencing the user manual, I ran my acoustic kick trigger into Channel 1 and scrolled through the presets until I found a sound that I liked. I was then able to quickly adjust the input sensitivity to match my dynamic level and lower the pitch slightly for a more punchy tone. I was impressed with how natural the sound was considering that it’s synthetic. I actually preferred using the self-contained Nord Drum 2 with triggers at a live gig, as opposed to relying on the auxiliary return of my bass drum mic for monitoring. Nord cleverly designated the factory presets so that Channel 1 houses the kick

CONCLUSION The module being separate from the pads can be seen as a pro or a con depending on how you plan to use the devices. One pro is that you can buy each part separately, so if you don’t want the pads, you don’t have to pay for them. Plus the module takes up very little space by itself. The sound library is impressive, the module is user-friendly, and the pads— if you choose to add them—are quite responsive and sensitive. nordkeyboards.com

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28 Modern Drummer May 2014

Hardware: Pearl Icon rack, cymbal stands, and bass drum pedals; Carmichael throne top on Pearl base; Sonor Signature legless hi-hat stand; Dunnett R-Class clamps for microphones “I saw the R-Class clamps at the NAMM Show, and it stuck

Drums: Pearl Masterworks (maple with interior and exterior plies of bubinga) in walnut burst finish with titanium rose gold-plated hardware A. 5x14 snare (20-ply) B. 7x6 tom (8-ply) C. 7x8 tom (8-ply) D. 8x10 tom (8-ply) E. 8x12 tom (8-ply) F. 14x14 floor tom (10-ply) G. 16x16 floor tom (10-ply) H. 14x20 gong drum (10-ply) I. 18x22 bass drum (10-ply) “It’s important to be in love with your drumset,” Sucherman says, “because when you’re on the road as much as I am, there are going to be times that you’ll be missing home, tired, or whatever. But when it’s time to sit behind this drumset, I feel like a little kid on Christmas morning, and then it’s go time. “I wanted to go with semi-rounded 45-degree bearing edges for this kit, which is in between the sharp and rounded bearing edges on my last two road kits. “I’ve been fascinated with rose gold, as it’s been very much en vogue in fine timepieces for the last several years. I’ve never seen it on a drumset before, and Pearl said they would investigate it. They came back with a rose gold with a little titanium added to the mixture so the luster would stay and wouldn’t wear off over time.”

Heads: Remo Coated Ambassador snare batter and Hazy Ambassador bottom, Clear Ambassador tom batters and

Cymbals: Sabian 1. 14" AA Regular hi-hats 2. 19" AAX X-Treme China 3. 17" AAX Vault crash 4. 6" AA splash 5. 8" AAX splash 6. 19" AAX Vault crash 7. 10" AA splash 8. 22" Vault Precision ride 9. 13" AAX Stage hi-hats 10. 18" AAX Vault crash 11. 9" prototype bell 12. 10" Chopper 13. 22" AAX X-Treme China 14. 20" AAX Vault crash “I’ve used the same configuration and models for many years, as they serve the music the band plays beautifully. I’ve been using the Precision ride since 1999. It’s a beast and has a bell that can’t be beat—completely musical and cutting. It’s a pretty thick cymbal, but it does open up and wash if you lay into it.”

in my head that it would be pretty cool to get those as microphone holders and plate them to match the hardware. “I still love my old Sonor Signature hi-hat stand. It’s the hi-hat I’ve played since I was a teenager, and it has the feel I’m used to.”

TODD SUCHERMAN

Styx’s

Interview by John Martinez • Photos by Ronn Dunnett

GEARING UP ON STAGE AND UP CLOSE DRUMKIT DETAILS,

Sticks: Promark SD330W Todd Sucherman signature model

Microphones: Audix D2 on rack toms, D4 on floor toms, i5 on snare, D6 in bass drums and gong drum, ADX51 on hi-hats, and SCX25A overheads “These overheads are unbelievably rich, creamy, and natural. I would put them up against mics that cost three times the price. They’re amazing.”

Percussion: Sabian finger cymbal, Toca tambourine, TreeWorks chimes

bottoms, Clear Powerstroke 3 bass drum batters (with Danmar impact pads), and custom DrumArt front heads with bubinga graphics “I tune the bottom heads slightly tighter than the top, so you get a really nice dip. I’ve been tuning the snare drum a little lower, and for the first time in seventeen years I have a quarter of a Moongel on it to add a little fatness. “I have down pillows in the bass drums with black pillowcases, so they’re not really seen through the portholes. But everything else is wide open and very lively. I’m going for that rich, musical, full sound.”

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SHOP TALK

GREGG KEPLINGER

A Sit-Down With One of the Industry’s Best-Kept Secrets

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and Jason McGerr (Death Cab for Cutie). So why is it, then, that many of you reading this probably haven’t seen or played a Keplinger? Well, since they’re handmade, the drums are relatively scarce, and players rarely sell them once they get their hands on one. Only a few music stores carry these snares, and until recently the drums had no markings whatsoever that say Keplinger. So it’s possible that you may have actually seen one and not known it. One thing is for sure: When you do hit a Keplinger snare for the first time, you’ll never forget it. Gregg is a fantastic jazz drummer steeped in the Elvin Jones school of playing. And he is such a presence on Seattle’s music scene that I rarely have to put him on a guest list when I’m playing in town—there’s always someone at the venue who knows him, and he just walks right through the door. I’m happy to call Gregg my friend, and I’m thankful for the opportunity to sit down with him and chat a little about his life and his drums. Alex Kluft

n the business of music, there are many people who make most of their impact behind the scenes. Drummer/builder Gregg Keplinger is one of those catalysts. He’s a trailblazer who heard things differently, and thus he set off to develop sounds that had not existed before. And he creates some of the best-sounding and most distinctive snare drums ever made. When asked how to describe his drums, Keplinger often says that they’re “everything your favorite snare is, only ten times more.” As a collector and big fan of Keplinger’s drums myself, I think that’s a pretty great description: ten times louder, ten times more sensitive, ten times more versatile…you get the point. Keplingers are constructed by Gregg and come in 6-, 8-, and 10-lug options and in alloys such as brass, copper, steel, and stainless steel (his favorite and most popular). These pieces are sought after by some of the biggest names in drumming, including Matt Cameron (Soundgarden, Pearl Jam), Dave Grohl (Foo Fighters), Matt Chamberlain (studio),

by Jason Sutter

SUTTER’S KEP COLLECTION Clockwise from bottom: 4x14, 8-lug Black Iron; 7x14, 10-lug Brass; 6.5x14, 10-lug Copper; 5.5x14, 8-lug Stainless Steel; 6.5x14, 6-lug Stainless Steel; 6.5x14, 10-lug Stainless Steel; 8x14, 10-lug Stainless Steel; and 7x14, 10-lug Black Iron 30 Modern Drummer May 2014

Jason: How long have you been making drums, and how did you get started? Gregg: I’ve been making drums since the ’70s. It all started when I was hanging around a music store and saw a steel 8-lug, 6.5"-deep ’30s Ludwig. I had never seen that size drum with eight lugs, and it really knocked me out. But I couldn’t afford it, so I started to think about how I could make a drum shell like that myself. Then one day I was driving in an industrial area in Seattle and passed Alaskan Copper, which sells pipes for factories and pipelines, and I slammed on the brakes and went, “There they are!” That’s where it all started, and probably the first hundred I made were what I call Pipe drums. That was around ’78. Jason: What are some of the different alloy options, and how do they differ from drum to drum? Gregg: My favorite material is stainless steel, and the drum I’ve had the most success with is a 5.5"-deep Stainless with eight lugs. A 5.5" depth was a rare size at the time. I believe the

5x14 Ludwig Supra-Phonic is the best drum ever made, so I wanted to make a 5.5" drum, because it would be unusual. I make regular steel, which I call Black Iron, because it has this black slag on it. I also make copper and brass. As far as the sound, they are all sensitive, super-powerful, and very loud. The Stainless has a point to the note, and the Black Iron is dry and dusty. The brass is woofy and “airy.” The copper is dry, woofy, and somewhat airy. They are all heavy, averaging about sixteen pounds, but the copper and brass are heavier. I can make any size. I’ve made 3x12, and I made a 4x10 that looked like a little motorboat with a Dunnett throw-off. Jason: Who are some notable players that you’ve made drums for over the years? Gregg: I’ve made a drum for Mickey Hart of the Grateful Dead and for my friend from Santana, Mike Shrieve. And my hero, Elvin Jones, had a couple. I made one for Art Blakey, and my friend Matt Cameron has a number of them. Jason McGerr,

Soundgarden/Pearl Jam’s Matt Cameron and Session Great Matt Chamberlain on Gregg Keplinger and His Drums Cameron

Chamberlain

Ronn Dunnett

“When I bought my first Keplinger snare in 1986—the year I joined Soundgarden—I was able to finally compete with the extreme guitar levels at band practice,” Matt Cameron says. “I remember being amazed by the sheer girth of the drum, the ‘not fragile’ stamp, and the overall vibe. It looked like it had been buried in the desert for years. I took it everywhere for ten-plus years of hard touring. Now retired, it has been replaced with another Keplinger. “I use a 7"-deep Side Hatch live and in the studio. The Side Hatch is a Keplinger invention where small-size snare wires lay off-center on the snare head and the strainer is attached off-center on the shell. It gives the drum a wide-open and totally unique sound. “Gregg is the drum guru of the Northwest, and he has been my studio tech/confidant since the late ’80s. He taught me a lot about sounding unique and putting my own stamp on music. And he has always been a loyal friend and a huge part of my extended family.” Matt Chamberlain says, “My relationship with Keplinger goes back to when I first moved to Seattle in 1991. I was recording at the Avast! studio, and he had made some drums for Stuart Hallerman, who owns the studio, to have around for people to record with. I remember he brought in a 6.5" Stainless with wood hoops, and I flipped out. It had all the stuff I love about a snare—crack, body, sizzle—plus this really amazing open tone that sat right with just about any track I used it on. I eventually bought a couple Stainless from him. “Over the years I’ve asked him to make me a few crazy drums, like the one that has the wires going off at an odd angle to the bottom head and with the lugs unevenly spaced. My favorites are the 10-lug Stainless and Black Iron in 6.5" depths. The live half of the Tori Amos release To Venus and Back features a Keplinger. “Back when Gregg started making cymbals out of sheet metal, I ran into him at a local drum shop, and he said, ‘Matt! I’m making cymbals. You’re going to love them—they sound like shit!’ [laughs] I use his metal creations all the time. I have this insane massive 22" cowbell he made that was inspired by the huge one that British drummer Tony Oxley uses. “Gregg is also one of my favorite drummers. I’ve seen him play around Seattle in everything from out-jazz trios to singer-based music, and I always leave his gigs inspired.”

May 2014 Modern Drummer 31

Jeremy Taggart [Our Lady Peace], and Joey Waronker have some of my stuff. Buddy Rich played one. He didn’t want it, but he was really cool about it. I was going to give the drum to him, but he had his thing with Slingerland at the time. Matt Chamberlain and the amazing drummer from Hella, Zach Hill, have some. Stone Gossard from Pearl Jam has them in his studio too. It’s a huge honor to have a guy ask me for a drum, and that’s part of the perk—getting to hang with them and talk gear. Jason: Any good stories from hanging with the drummers that you’ve made drums for? Gregg: My friend Mike Musberger of the Posies was tour managing for the Experience Hendrix Tour with Mitch Mitchell. He asked me if Mitch could use one of my drums, and he loved it. It was a 6x14, 10-lug Stainless Steel. I got to hang one-on-one with Mitch at the Paramount Theater before the show. Tragically, Mitch passed away a few days later. Mike got me the drum back, eventually, but I still wish I had gotten that head signed. Years ago, when I lived in New York, I walked up to Elvin at the [Village] Vanguard and Sutter and Keplinger said, “Hey, I make drums, and I’d like to show you one.” He took this heavy drum in one hand and played it for the rest of the night. It was a 5" Stainless Pipe with eight lugs. He dug it, and he asked me to make him one. Jason: How long does it take to make a drum by hand? Gregg: Depending on parts or materials, it usually takes under two months. Jason: What are some of the crazier requests that you’ve been asked to make? Gregg: Howard Gilbert, the Seattle Symphony drummer and a good friend, asked for a 24"-deep 15" snare, as well as a 16x16 snare. And I made a piccolo that was so thin I had to build the throw-off on a pulley system. Matt Cameron has three of what he calls a Side Hatch drum. It has 10" snare wires that are mounted off-center. And I’ve made a few 6x14, 8-lug drums where I randomly placed the lugs and had to build the hoops with claws for the tension rods. Those were crazy. I also built a drum for Joey Waronker that has a shell with four rods on the side with a piece of steel around the posts. When you hit the metal, and when the drum is miked, it has a bizarre sound. Jason: You spent some time as a drum tech as well. Gregg: My first tech job was with Metal Church. But my first “real” drum tech job was with Matt Cameron for Soundgarden’s Superunknown album. He asked me to come down and help him set up his gear in the studio, because he had a lot of drums. I ended up doing the whole record, and I went out on the road for that tour. But as soon as the drums were finished in the studio, I ended up going in for heart 32 Modern Drummer May 2014

surgery. While I’m recovering, the whole band comes waltzing into the hospital to visit me, and Chris Cornell looks at the foot of the bed, sees the angiogram of my heart, and asks if they could use the photo of my heart for the inside of the Superunknown record cover, for “Black Hole Sun.” I’ve also teched a bit for Eleven and Jeremy Taggart with Our Lady Peace, and through that I got to tech for Elvin Jones a bit. I didn’t tune his gear, because his wife, Keiko, did that. But I got to play his kit, and it was like playing the most crystal-clear-sounding drums ever. Jason: You also make cymbals. Can you describe those? Gregg: I use various gauges of stainless steel and sometimes brass. I hammer and heat them and make a bell, and then I hammer them more until they sound interesting. They are effects cymbals. Matt Chamberlain used one on Letterman, and Matt Cameron used one on a Pearl Jam track. Joey Waronker and Zach Hill use them live. You have some, and Dony Wynn uses them as well. Jason: What are some of the other percussion instruments you make? Gregg: I make a Ching Ring that’s a steel ring about 8" wide with five sets of tambourine jingles on it. You can throw it on the hi-hats or on a cymbal. I make various shakers with different combinations of metals for effects. I heat them and hammer them. I’ve sold quite a few of those for sculptures or yard art as well. Jason: Soundgarden’s Superunknown album is pretty legendary for its giant drum sounds. Can you shed some light on which snares were used for the different tracks and on any tuning methods? Gregg: That sound is the combination of Matt’s tuning, the room, and the producer. I have a photo of the drumset with thirty-six mics on it; it’s just over the top. He used a 5.5", 8-lug Stainless for most of the album, as well as a hammered 6", 10-lug Stainless. He also used an 8" Stainless on “Like Suicide,” for the loud part at the end. Jason: What do you think has been the most rewarding part of building drums? Gregg: When someone likes what you’ve made, it’s just a gas, you know? Getting to hang with all these cats and hearing all the stories that come with it is pretty amazing. Art Blakey dug a brass drum I made for him. When I went to give it to him, I was going to ask him to sign a contract to allow me to use his name as someone that plays my gear. He just shook my hand and said, “That’s my signature. A deal is a deal.” There are just so many cool experiences that come with all this. I love drummers, and I love hanging and talking drums. I learn from every drummer I meet, young or old, and I love contributing and being a part of this community. That’s one of the coolest parts of all this—the hang.

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ENCORE

Miles Davis Bitches Brew How heavy was it? More than forty years later, musicians are still mining it for ideas—and still arguing over its merits. And a double-drummer approach is at the center of each of its storming tracks.

E

ven before fans tore open the double LP’s shrink-wrap, it was clear something was brewing. That cover! Bold and mind-blowing. The vinyl within confirmed the message: It’s 1970, and Miles Davis has moved on to a new decade—get used to it. Detractors yearning for the “old Miles” cried traitor, while others embraced the groundbreaking release. Often cited as the springboard to jazz-rock fusion, Bitches Brew was not the first record of that genre, but it did represent fusion’s most influential,

Hot Stuff MOVING AS ONE In a way, Bitches Brew is the ultimate non-chops album; if ever there was a record that prioritizes texture and transcendent group play over individualism, this is it. Not that drum-focused listening doesn’t reveal Lenny White and Jack DeJohnette burning all over the double album. But more important, the duo set a standard for drummers listening intently and working together to navigate uncharted waters. Take the opening track, “Pharaoh’s Dance.” You can hear DeJohnette and White in a constant state of reacting to and seemingly anticipating each other’s ideas in real time, ferociously stirring the pot, lowering the heat just as it’s about to boil over, sometimes dropping out altogether for a few bars, then getting right back to business with renewed vigor. STERE-EREO The long, repeating notes from Davis’s delay-soaked trumpet on Bitches Brew weave through DeJohnette and White’s hardpanned drumsets (Lenny in the left channel and Jack in the right), adding to a general vibe that has been described by many as cosmic or psychedelic. Little snippets of White’s upbeat punctuations to DeJohnette’s mutated-Motown-8th-note groove on the title track, for instance, ensure that we never get too comfortable with this deceptively complex rhythmic approach. VOODOO DON Though the White/DeJohnette drumset tandem appears most often on Bitches Brew, “Miles Runs the Voodoo Down” features Don Alias taking over White’s kit. The version of the song that the group had been playing live wasn’t jelling in the studio after a couple takes, so Alias suggested incorporating a rhythm he’d been working on since hearing it in New Orleans street parades. The result, a funky broken-up groove, sets the slow, supremely badass tone for the rest of the fourteen-minute cut.

34 Modern Drummer May 2014

envelope-pushing, high-profile realization yet, an audacious manifesto. Love it or hate it, various rock elements were now officially part of the jazz vocabulary. Miles had spoken. Despite the divisiveness, Bitches Brew actually sold quite well, largely due to its crossover success with a searching young rock audience. In retrospect, it’s amusing that jazz purists accused Davis of selling out, since the disc remains defiantly noncommercial. Scholars have endlessly attempted to isolate and analyze the jazz elements versus the rock ones. But in a larger sense, it was the attitude, the whole cosmic-ness of Bitches Brew that touched a new audience. The era was a turbulent and consciousness-expanding crossroad, and Davis tapped into that nerve dead-on. Placing electric instruments in a more prominent, muscular role, the trumpeter amassed multiple keyboards, basses, and drums. Long, trippy improvised mega-jams were conducted by Davis’s spontaneous directives. Miles experimented with the studio as a creative tool; tape segments were spliced together, and effects such as tape loops and delays were added. Jamming together in a semicircle, the players found that their imaginations rocketed. Because of the minimal harmonic/ melodic movement, the drummers played an enormous role in shaping the music, sometimes maneuvering grooves to build progressively for twenty-minute-plus stretches. And backbeats anchored by electric bass grooves were now key. The core drivers on the kit were Jack DeJohnette and the “new kid” on the session, Lenny White. Davis instructed DeJohnette to create the central beat while White embellished. Yet the result is surprisingly shared and organic, a one-being sound with layered grooves, shifting coloration, and aggressive commentary. Pinning down and tightening the continuum was Don Alias on congas along with percussionist Jumma Santos (credited as Jim Riley). Alias

switches to drumset on “Miles Runs the Voodoo Down.” The rhythm team opens the album with a subdued, hypnotic quarter-note drive, recalling Davis’s groundbreaking previous album, In a Silent Way. But as the disc progresses, they escalate to a new fever pitch in a free-jazz-meets-intergalactic-funk mode. The standard CD version also includes the bonus track “Feio” featuring Billy Cobham drumming along with DeJohnette, with Airto on percussion, creating ominous, surging waves. The wall of multiple drummers remains one of the defining characteristics of the legendary sessions, providing the unworldly kinetic sound that Davis had imagined. Time has clearly validated the record’s importance and increased its audience. And fans devour lavish box sets featuring every minute of outtakes. Speaking of Miles’ restless iconoclasm during a recent NPR interview, guitarist John Scofield reflected, “He couldn’t help it; he was addicted to change.” Jeff Potter

Bitches Brew (1970)

Pharaoh’s Dance • Bitches Brew • Spanish Key • John McLaughlin • Miles Runs the Voodoo Down • Sanctuary Miles Davis: trumpet Jack DeJohnette: drums Lenny White: drums Don Alias: percussion, drums Jumma Santos: percussion Wayne Shorter: soprano sax Bennie Maupin: bass clarinet Harvey Brooks: bass Dave Holland: bass Chick Corea: electric piano Larry Young: electric piano Joe Zawinul: organ, electric piano John McLaughlin: guitar Produced by Teo Macero

mfg U.S.A.

PORTRAITS

Amadeus Trey Songz tour drummer and musical director Antwan J. Thompson always had big plans for himself. You can consider the bold nickname he’s had since he was a kid as evidence. by Billy Amendola

I

t’s been quite a journey for thirty-threeyear-old Antwan J. Thompson, aka Amadeus. Thompson’s passion for music started when he was a youngster growing up in the Bronx, New York, where he took drum lessons at his elementary school and later played drums and piano in school

Wow, Talib Kweli, Busta Rhymes, CeeLo, Lil Wayne, Chris Brown, and Jennifer Lopez. He’s been featured multiple times on BET’s Rap City and 106 & Park shows. In 2008 Thompson signed on as a member of the Hitmen, the production team for Sean “Diddy” Combs. Soon after that, he acted

MD: Let’s talk about how you got started playing drums. Amadeus: I had the opportunity to attend Catholic school, and it was part of the curriculum to learn a musical instrument. I was home sick on the day I was to choose which instrument I wanted to learn, so I was forced to choose between the violin and percussion. They were the only two classes that had spots available. As a young boy I didn’t feel it was cool to learn the violin, so I chose percussion. I didn’t know what “percussion” meant, but I went with it anyway and eventually studied drums, xylophone, congas—basically anything that had to do with rhythm. The more I took the class, the more I felt it was natural to me. I would catch on fast and be able to play the rhythm patterns the teacher played, exactly how he played them. And then before I knew it, I fell in love with the drums, always wanting to play, whether it was on the actual drumset or the lunchroom table. This was in the fourth grade, and after about two years drumming became a passion and I

“A fan came up to me after a show and said, ‘What happened to “Missin’ You”? It didn’t sound right.’ After that I realized that it was important to only add colors when necessary.” bands and at church. Soon he was known as Amadeus and began making waves in the community. “I remember seeing the movie Amadeus in school,” Thompson recalls, “and feeling that we were similar in many ways. I’ll admit that at first I didn’t really like the name. But when I heard people call me Amadeus, it had a ring to it that felt epic. And as time went on I learned it means ‘loves God.’ I’m big on spirituality, so it all made sense.” Today Thompson can say that he’s contributed as a producer, songwriter, and musician to gold and platinum records by, among others, Trey Songz, Foxy Brown, 50 Cent and Fabolous, Justin Bieber, Bow 36 Modern Drummer May 2014

as a guest judge on Diddy’s MTV show Making His Band, doing double duty as musical director for the rap mogul’s Dirty Money band. More recently, Amadeus produced two songs on a Chris Brown mixtape called X-Files, music for ESPN’s Monday Night Football, and the title track of Jennifer Lopez’s latest album, Same Girl, which was cowritten by Brown. Currently he’s working on Brown’s album X and on Tiffany Mynon’s The Angel of R&B EP and album. We caught up with the soft-spoken multi-talent during a break from a world tour with Trey Songz.

searched for it everywhere. MD: What players influenced you early on? Amadeus: One Sunday morning my mom took me to Faith Temple COTLG church, in the northern part of the Bronx, and I heard a drummer by the name of Steven White play. My life changed that day. I never heard drums played like that before. I thought my teacher was good, but I learned he had nothing on the dude I was listening to that day. [laughs] So I said to myself that night, If I practice, I can sound like that! After that, I was full speed ahead with being a musician, and I never looked back. Wanting to learn more about my craft, I began to research all types of drummers who would have an influence on me, like Dave Weckl, Steve Gadd, Dennis Chambers, Vinnie Colaiuta, Virgil Donati, and Chris Dave. MD: When and how did you get into producing? Amadeus: After about five years of learning and studying drums I decided to give production a shot. The minister of music at my church had just purchased a brand-new Roland XP-50 keyboard, and when I saw it I was amazed and asked if I could borrow it. To my surprise he said yes. So I borrowed the keyboard for months at a time, returning it to him on rehearsal nights and Sundays for church, and I stayed in the house not wanting to do anything but make music. The more I created music, the more it became a passion, and once I realized that I could make it my career, I did just that. Eventually I graduated to an Akai MPC2000XL, which is a very useful drum sampler, and by using that to the best of my ability I was able to create some amazing music that allowed me to produce so many artists. MD: How did you get into drum programming? Amadeus: I started at the age of fifteen, programming and sequencing songs on that Roland XP-50. It had a drum bank with hundreds of sounds. I wanted to pursue a career in producing hip-hop and R&B, and unlike rock and gospel, which used live instrumentation, hip-hop producers pretty much used keyboards, drum samplers, turntables, and vinyl to create music. Since I wanted to have that same style and sound, I learned not only how to create music but to program it using different pieces of equipment. MD: What other gear besides the MPC2000XL did you use? Amadeus: The Roland JP-8000 and Korg

microKorg [analog modeling synths], MUSIC THAT ROCKS AMADEUS the M-Audio Radium MIDI keyboard, Kim Burrell Try Me Again /// Dave Weckl Pro Tools 10 [DAW], the Digidesign Hard-Wired /// Gene Lake Cycles (especially Digi 002 rack and Avalon VT-737sp the track “Steppin’ Up”) /// Mint Condition Definition of a Band /// Mutemath “Typical” [interfaces], and Stanton’s CMP.800 CD player, SA.3 mixer, and T.92 Murphy, asking, “Are you ready to put the turntable. As a drummer, it’s not as band together for Trey?” “Absolutely!” That hard as you think playing with a machine was seven years ago, and since then we’ve or loops, because you have a click count, toured all around the world with me as his either in your in-ears or monitor, which music director and drummer. pretty much keeps you in time. Constantly MD: How would you describe your hearing a loud woodblock sound counting playing style? 1-2-3-4, 1-2-3-4, it’s really difficult to lose Amadeus: I’m blessed to be versatile, but I the timing or count. I was comfortable would say that gospel, R&B/hip-hop, and playing to a machine the first time I tried it. pop are my strongest genres. In gospel MD: What led you to hook up with Trey music I feel you’re able to open up more Songz and become his musical director? on the kit with various licks, fills, and band Amadeus: At the time I was working on an cuts. I do so much more playing in that album for a very successful hip-hop artist

TOOLS OF THE TRADE Amadeus plays DW drums, Paiste cymbals, Vater sticks, and Evans heads and endorses Monster Products, KRK Systems, Stanton DJ, and Akai Professional equipment.

that was signed to Warner Bros. Records, Mike Jones. We created a song in the studio called “I Know,” and Mike said to me, “We need to feature a male R&B artist on this song.” So we bounced ideas off of each other and agreed that Trey Songz would be perfect. Trey being signed to Atlantic Records made life easy, because the record labels were both under the same umbrella. So we flew Trey to Houston and recorded and mixed the record. In the process of finishing the song, I noticed a drumset in the corner of the studio, and I mentioned to Mike and Trey that I played the drums. No one believed me, so I said to Trey, “One day you’ll need a band, especially with the direction you’re going musically.” About a year later I got a phone call from Trey’s former manager Delante

genre. In R&B/hip-hop, I pretty much play the pocket, making sure that I basically re-create the feel of the original track from the album. I remember when I first started touring and playing for Trey, a fan came up to me after a show and said, “What happened to the song ‘Missin’ You’? It didn’t sound right.” We’d rearranged some pretty nice band cuts and flipped the bridge, and to us in the band it was hot, but the song had become unrecognizable to the audience. After that conversation with that fan, I realized it was important to only add colors when necessary. Sometimes less is more. MD: What’s next for you? Amadeus: Trey Songz is currently working on a new album, so we’ll be hitting the road, touring the world.

Celebrating its 25th anniversary, Guitar Center’s Drum-Off—the world’s premier drum competition— culminated with a finals event featuring the top five undiscovered drummers in the country, as well as performances from icons and rising talent in the drum world. Dawud Aasiya-Bey of Lake Elisnore, Calif.— better known as D-M.I.L.E.—took the win, closing out the battle that started with over 5,000 drummers. The star-studded lineup of competition judges included top touring and session drummers, including Nisan Stewart, Dave Elitch, Brooks Wackerman, Adrian Young, Peter Erskine, Aaron

Spears, Thomas Lang, Chris Johnson, Cora Coleman-Dunham, Trevor Lawrence Jr., Eric Hernandez, John Tempesta and Keith Harris. Hosted by Stephen Perkins, this year’s Drum-Off featured exclusive musical performances by one of today’s most innovative talents, Chris Dave, Chad Smith (Red Hot Chili Peppers), Ray Luzier (Korn), and Steve Ferrone (Average White Band, Tom Petty and the Heartbreakers) with special guest Questlove. Ferrone was then honored for his incredible career and contributions to the music world with an induction into Guitar Center’s RockWalk.

Questlove

Chad Smith

Chris Dave

Steve Ferrone

Steve Ferrone & Questlove

Drum-Off Contestants

Ray Luzier

FOR PHOTOS AND VIDEOS FROM THE EVENT, VISIT GUITARCENTER.COM/DRUM-OFF

DRUM-OFF CHAMPION D-M.I.L.E.

Introducing…

’s r e m m u r D n Moder

HALL OF FAME

Carmine Appice

The iconic heavy hitter’s thunder hasn’t quieted one decibel since he blasted out of Long Island with Vanilla Fudge in 1965.

40 Modern Drummer May 2014

Past Hall of Fame Winners 2013: Bernard Purdie 2012: Phil Collins 2011: Jim Chapin 2010: Hal Blaine 2009: Mitch Mitchell 2008: Ginger Baker 2007: Jack DeJohnette 2006: Charlie Watts 2005: Stewart Copeland 2004: Mike Portnoy 2003: Simon Phillips 2002: Steve Smith 2001: Dennis Chambers 2000: Dave Weckl 1999: Roy Haynes 1998: Ringo Starr 1997: Terry Bozzio 1996: Vinnie Colaiuta 1995: Elvin Jones 1994: Larrie Londin 1993: Jeff Porcaro 1992: Max Roach 1991: Art Blakey 1990: Bill Bruford 1989: Carl Palmer 1988: Joe Morello 1987: Billy Cobham 1986: Tony Williams 1985: Louie Bellson 1984: Steve Gadd 1983: Neil Peart 1982: Keith Moon 1981: John Bonham 1980: Buddy Rich 1979: Gene Krupa

Alex Solca

s r e d a e 2014 R s r e n n i W Poll

Mike Portnoy

Joey Kramer Rob Shanahan

The past year found him producing music with Adrenaline Mob, Transatlantic, Flying Colors, the Winery Dogs, and Portnoy/Sheehan/MacAlpine/Sherinian, resulting in his topping both the MVP and prog categories of the 2014 poll. How Mike’s gig calendar doesn’t collapse under its own weight is anyone’s guess.

MAINSTREAM ROCK

As new generations experience the sweet emotion of an Aerosmith concert for the first time, the band’s perennially popular drummer not so quietly improves with age.

Alex Solca

2. Ronnie Vannucci 3. Jason Sutter

4. Darren King 5. Robin Diaz

POP

Carter Beauford

2. Dave Grohl 3. Vinnie Colaiuta 4. Ahmir “Questlove” Thompson 5. Antonio Sanchez

PROG

Rahav

MVP

2. Mike Mangini 3. Marco Minnemann 4. Todd Sucherman 5. Matt Garstka

From the intro to Carter’s July 2013 MD cover story: “The beats and fills he’s been able to play within the essentially pop format of the Dave Matthews Band are ones that most of us would never attempt in a three- or fourminute song, let alone think of in the first place.”

2. George “Spanky” McCurdy 3. Mark Schulman

4. Eric Hernandez 5. Brian Frasier-Moore

METAL Chris Adler

Vinnie Colaiuta

Ken Penn

Once again, he’s acknowledged by MD readers for his dominance as both a shredster and a consummate studio pro.

No one could have predicted the drama surrounding the drummer and his Lamb of God bandmates over the past couple years, something you can read all about in Adler’s March 2013 MD cover story. But one thing we can always rely on is the loyal—and vocal—support of Chris’s many admirers.

2. Travis Orbin 3. Ray Luzier

4. Gene Hoglan 5. Arejay Hale

R&B

Alex Solca

Aaron Spears

FUSION

2. Billy Cobham 3. Chris Dave 4. Thomas Pridgen 5. Robert “Sput” Searight

2. Ahmir “Questlove” Thompson 3. George “Spanky” McCurdy 4. Joseph “Zigaboo” Modeliste 5. Gorden Campbell

42 Modern Drummer May 2014

Alex Solca

Drum Channel, Regina Drum Festival, Korea Drum Show, and Drum Fantasy Camp appearances, a new app, gigs with Usher…this is what the résumé of a drumming great looks like.

STUDIO

2. Matt Chamberlain 3. Dylan Wissing 4. Greg Morrow 5. Victor Indrizzo

The Chosen Ones

Choose Yamaha. Yamaha and DTX Drums are privileged to be associated with these tremendous artists. We are honored that this year’s Readers Poll nominees choose to play Yamaha. Congratulations from all of us to all of you. ©2014 Yamaha Corporation of America. All rights reserved.

COUNTRY Jim Riley

ALTERNATIVE

Rick Malkin

Paul La Raia

Jean-Paul Gaster

Who says alternative rock is all about nerdy beats and hipster bedroom Pro Toolers? Clutch’s ever-popular drummer consistently proves there’s plenty of room in the genre for soul, sweat, and super-sexy grooves.

This is the fourth year in a row that the Rascal Flatts drummer/bandleader has topped the country category. You can read all about Jim’s latest exploits—along with his rich backstory—starting on page 50 of this issue.

2. Joey Waronker 3. Thomas Hedlund

2. Rich Redmond 3. Chuck Tilley

4. Deantoni Parks 5. Jon Wurster

JAZZ Tommy Igoe

4. Sean Fuller 5. Chris McHugh

UP & COMING

Deneka Peniston

Emily Sevin

Justin Brown

4 Color Version white backgrou

Last April’s MD cover star has more drive and ambition than most any drummer you’re likely to meet. In 2013 his contemporary big band performed across the U.S. to packed houses—and these days that’s no small feat.

The NYC jazzman has been burning up stages with Gerald Clayton, Kenny Garrett, and Esperanza Spalding, among other top artists, like nobody’s business.

2. Antonio Sanchez 3. Kendrick Scott

2. Benjamin Cowan 3. Cully Symington

4. Mark Guiliana 5. Terri Lyne Carrington

44 Modern Drummer May 2014

4. Jess Bowen 5. Miles Arntzen

4 Color Version on or black backgrou

RW TE

cus

Z Winner Per

WInn er Metal

MIKE JOHNSTON

IN E

MARK SCHULMAN

BRAD WILK 13 (BLACK SABBATH)

JIM R

Winner R & B

RS

EA A A RON

Y ILE

MARK SCHULMAN

POP

Prog

Metal

inner Metal

POP, R&B, Off Time/On Time Educational DVD

-PA

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Z Winner Per

MA

UM

P EDR I TO

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DR

ES

PR

IN E

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A UL G

FILLS Winn

JE A N

AD

AQ U I L

Year after year, our artist roster makes us proud to be part of the KMC Music Percussion Group. Congratulations to this year’s Modern Drummer Reader’s Poll Award winners and nominees who faithfully represent our brands and get the most out of our instruments. You give it your best, so we give it our best.

C HRIS

RW

Fusion

CONGRATULATIONS TO THE WORLD’S BEST

LE

inner Alternative

Clinician/Educator

cus

RW

Percussionist

Mainstream Rock

SP

POP

TODD SUCHERMAN

TE

RONNIE VANNUCCI

Recorded Performance

RT

GEORGE “SPANKY” MCCURDY

ROBERT “SPUT” SEARIGHT

Fusion

0 TER : TOP 10

SEAN FULLER

ROBERT “SPUT” SEARIGHT

JIM RI

COUNTRY

GEORGE “SPANKY” MCCURDY MARK SCHULMAN

Wi nne r Country

Educational DVD

GIL SHARONE

POP

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BRIAN FRASIER-MOORE JOE MCCARTHY: AFRO-CUBAN BIG BAND PLAY ALONG SERIES, VOLUME II AREJAY HALE

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Matt Halpern

Alex Solca

Paul La Raia

Pedrito Martinez

CLINICIAN/EDUCATOR

Says noted drummer Daniel Freedman about this year’s number-one percussionist, “I’ve never met anyone who combines modern elevated technique with incredibly deep roots like he does.” Neither, it seems, have many MD readers.

2. Pete Lockett 3. Taku Hirano

4. Arturo Stable 5. Mauro Refosco

RECORDED PERFORMANCE

Mike Portnoy The Winery Dogs

EDUCATIONAL DVD

Aquiles Priester Top 100 Drum Fills

EDUCATIONAL BOOK

Joe Bergamini Neil Peart: Taking Center Stage

For a drummer who’s associated with a band as active and cutting-edge as Periphery, it’s impressive how much he’s able to accomplish in the educational arena. Whether it’s teaching home-based lessons or hitting the clinic trail—like he did on last year’s Common Thread tour with Mike Johnston and JP Bouvet— Halpern always has drummers’ best interests in mind.

2. Mike Johnston 3. Rod Morgenstein

4. Gil Sharone 5. Rich Redmond

2. Joey Castillo, Dave Grohl, and Jon Theodore, …Like Clockwork (Queens of the Stone Age) 3. Brad Wilk, 13 (Black Sabbath) 4. Antonio Sanchez, New Life 5. Thomas Pridgen, Pinnick Gales Pridgen

2. Joseph “Zigaboo” Modeliste, The Originator of New Orleans Funky Drumming 3. George “Spanky” McCurdy, Off Time/On Time 4. Gorden Campbell, Secrets of the Working Drummer 5. Joe McCarthy, Afro-Cuban Big Band Play-Along Series, Volume II

2. Roy Burns, Solo Secrets of the Left Hand and Bass Drum 3. Hector Morales, The Afro-Peruvian Percussion Ensemble 4. Swiss Chris, Modern Drumset Stickings 5. Claus Hessler, Daily Drumset Workout

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YAMAHA’S 100% BIRCH SHELL PACK IN 5 EXCITING FINISHES Includes 10x8 and 12x9" rack toms and a 14x5.5" snare 22x17" bass drum and a 16x16" floor tom with raven black, honey amber or matte black kits 20" kick drum and 14" floor tom with natural or cranberry red kit 100% 6mm, 6-ply birch shells with an all-birch 7mm, 7-ply bass drum for outstanding resonance HARDWARE AND CYMBALS SOLD SEPARATELY COLORS AND CONFIGURATIONS VARY BY LOCATION (SCB2FS50-RB) (SCB0F50-CR) (SCB0F50-NW) (SCB2FS50-HA) (SCB2FS50-MB) LIST: $1180.00 YOUR CHOICE

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LP 10" OCTO-SNARE CAJON 9-ply Baltic birch shell

LP CITY CONGA SET AND BONGOS (LP601NY-VSB) (LP601NY-BK) LIST: $132.00 (LP646NY-VSB) (LP646NY-BK)

Fixed internal snares

YOUR CHOICE CONGA SET

Dual playing surfaces Handmade in the U.S.A. SNARE STAND SOLD SEPARATELY (LP1410) LIST: $159.00

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GRETSCH CATALINA MAPLE 6-PIECE SHELL PACK 100% all-maple shells 22x18” kick, 10x7 and 12x8” rack toms, 14x14 and 16x16” floor toms, 14x6” snare, plus a free 8x7” rack tom Gretsch GTS suspension tom mounting system Dark cherry burst lacquer finish HARDWARE AND CYMBALS SOLD SEPARATELY (CM1E826PGDCB) LIST: $1540.99

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OCDP 5-PIECE VENICE KITS IN GREAT GREEN AND GREAT ORANGE FINISHES Great Orange kit: 22x20” kick, 10x8 and 12x9” toms, 16x14” floor tom and a 14x6” matching snare Great Green kit: 20x20” kick, 10x7 and 12x8” toms, 14x12” floor tom and a 13x5” matching snare Chrome hardware, suspension mounts and offset lugs 12.5mm L-arm attachment clamps HARDWARE AND CYMBALS SOLD SEPARATELY COLORS VARY BY LOCATION (OCV5020-GRN) (OCV5022-ORG) LIST: $1139.00–$1165.00 STARTING AT

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TAMA 40TH ANNIVERSARY LIMITED-EDITION 14" SUPERSTAR BIRCH SNARES SELECTION VARIES BY LOCATION (9675XLCHW) (9675XLSMH) (9675XLSMP) (9676XLCHW) (9676XLSMH) (9676XLSMP) LIST: $923.06

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ZILDJIAN A OR A CUSTOM SERIES PREPACKS WITH FREE CYMBALS INCLUDED A Custom pack: 14” A Custom hi-hats, 16” A Custom crash, 20” A Custom medium ride plus a free 18” A Custom crash A pack: 14” New Beat hi-hats, 16” Medium Thin crash, 20” medium ride and a value-added 18” A medium thin crash (A390) (A20579-11)

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ZILDJIAN ZHT CYMBAL PACK WITH CHINA INCLUDED—PLUS A CYMBAL BAG 14” Mastersound hi-hats, 17” fast crash, 20” medium ride and a value-added 16” China (ZHT390) LIST: $1015.00

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34-BAR CHIME

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R

Story by Ilya Stemkovsky • Photos by Rick Malkin

y e il Jim

With spiky hair, lasers, and guitars that go to 11, Rascal Flatts isn’t your daddy’s country band, and Jim Riley sure isn’t your middle-of-theroad sideman of yesteryear.

May 2014 Modern Drummer 51

J

im Riley is not your typical country drummer. Like the wildly popular Nashville-based group Rascal Flatts, which has been his musical home base for fourteen years, Riley is a little bit more. More volume, more chops, more rock. “The role of the country drummer has changed,” Riley says. “As country has evolved, it’s become the arena rock of our generation. Rascal Flatts, Taylor Swift, Jason Aldean, Eric Church—the bands are heavy, the music is loud, and it doesn’t remind people of the country music that once was.” Sure, Riley will lay down the most authentic train beat (see Drum Country, page 66), but he’s also asked to program loops and sing background vocals with Rascal Flatts, which is fronted by Gary LeVox, Jay DeMarcus, and Joe Don Rooney. He’s even involved, in his role as musical director, with writing the band’s in-concert intro music. YouTube Riley and you’ll get a taste of what makes him so different, and so effective. Clinics where he’s throwing down wicked double bass? Check. Seventiesstyle drum solos in the middle of the Flatts show? Check. A double-bill Crossroads TV performance with Journey where Riley shares simultaneous drum duties with Deen Castronovo on Journey classics and Rascal Flatts numbers? Double check. Riley epitomizes a new type of drummer who rocks arenas at night and teaches students of all ages by day. Jim’s instructional methods are similarly new-school; his Nashville-based multi-kit home teaching space, Drum Dojo, features the full integration of modern online technology. Still, this Modern Drummer Festival alum and multiple Readers Poll winner (and contributing writer) knows it always comes back to basics, regardless of a student’s skill level. “Drum students want to learn the most complicated things,” Riley, a University of North Texas grad, says. “But the simple stuff is sometimes the most important.” Riley’s efforts to address drummers’ core needs include the book Song Charting Made Easy: A Play-Along Guide to the Nashville Number System and its upcoming follow-up, Survival Guide for the Modern Drummer. MD caught up with Riley during some rare downtime in his busy schedule.

MD: Rascal Flatts paved the way for “new country,” which today is as much about rock beats and leather as it is about fiddles and pedal steel guitar. What are your thoughts on the monster you’ve created? Jim: There was a critic who described Rascal Flatts as sounding “not like country, but like Night Ranger with a fiddle.” He meant it negatively, but we all thought it was awesome and funny. MD: You’ve been with the group for fourteen years now. Did you imagine when you started that you’d have such a great gig for so long? Jim: You know, I really did. When the guys hired me, they told me that they wanted me to be their drummer for their whole career. That was an exciting prospect. I believed in their talents and the direction of the band. I always envisioned us doing this for a long time. Even though the guys’ first singles 52 Modern Drummer May 2014

were very successful, live we had humble beginnings. During our first year on the road, we weren’t on a big tour; we were playing clubs, early slots on festivals, county fairs. We only had one hit song, so we played some really fun covers and opened up some of the album songs with extended fusion jams. We were really raw, but we had amazing energy, and we were out to show the world what we were all about. MD: The live show became increasingly sophisticated. Jim: When the third single came out with a prominent loop, they asked if I could run that loop live, which at the time was on an ADAT machine. As the band continued to gain in popularity, the sophistication of the live show continued to progress as well. Soon we were syncing the live performance with video elements, as well as the lights and lasers and pyro. This all

“When you make the choice to become a professional musician, you have to turn in your ‘I’m only into making artful music’ card.” May 2014 Modern Drummer 53

“I’m trying to create drum grooves where if you took everything out but the drums, you’d be able to distinctly hear all the sections of the song based on my parts.”

became a dance between seventy touring personnel, and it had to be programmed down to the millisecond. We’d gone from clubs to selling out Madison Square Garden and the Staples Center, but it was a six-year growth curve that I was grateful to have. MD: All this synchronization means you have to play to a click all night. How do you feel about that? Jim: I love it. It takes away all of the “This song felt fast” and “That song was dragging” talk that can happen on a gig with no click. MD: Some drummers talk about playing behind the click for the verse

and ahead of it for the chorus. What are your thoughts on that? Jim: I never believed in that idea. To me, you’re either playing with the click or you’re not. If you’re playing behind the click, you’re still playing at the same tempo—it’s just happening a few milliseconds later. Sure, you gain a momentary bit of momentum going from the verse to the chorus, but then you have to put the brakes on to maintain your original tempo. In the professional world that I came up in, I’ve regularly had to play with quantized loops and percussion that are snapped to the grid, so it’s my job to

make the time feel great in the center of the beat. And that can be a challenge. MD: What’s your approach to keeping the songs fresh? Jim: Well, we can’t really change what our hit songs are, but I can slightly change the way I approach them. I’ve been fortunate to work with bosses that realize the music will get stale if it stands still, so I’ve always had free rein to play the songs the way I feel them. If they hear something they don’t like, they’ll reel me in, but I’ve never been asked to reproduce exactly what’s on the record. Instead we try to take the signature licks and preserve them while letting the songs continue to breathe and find new life with our audience. It’s allowed us to reinvent some old songs and come up with arrangements

Kevin Packard

“Jim has been the backbone of our rhythm section from day one. His level of intensity and passion each night is unequaled. It is such a wonderful feeling as an artist to know that someone is behind you, anchoring every musical aspect of the show. As a bass player, I never have a doubt where the pocket is. And I can always rely on Jim to be there for every move we make. Whether sticking to the strict regimen of our show or sitting in at a local club somewhere, Jim is truly one of the very best at his craft.” —Jay DeMarcus of Rascal Flatts 54 Modern Drummer May 2014

I’ve helped come up with some different arrangements for songs and created intros and endings to songs that are different from the record. For our 2011 tour I wrote a tribal drum feature for the three guys and me as the intro to the show. They had a blast playing drums and did a great job. To this day I could walk up to them and count it off, and they’d remember every note. Over the years the MD position has expanded for me to include being a mix consultant for a variety of live things, like the Journey Crossroads show we did last year, which was a blast. Double drumming with Deen Castronovo on all those

3

#SWITCHTOVATER 5B Wood

that in certain cases have worked even better than the original. A great song is very flexible and can be shaped in a number of ways—if you’re willing to take some chances. MD: What does your role as musical director entail? Jim: Rascal Flatts is in charge of their musical vision. I’m the person in charge of making that vision a reality. Over the years, under their direction, I’ve hired all the sidemen in the band, and I make sure we’ve got all the parts covered and that the band is prepared and rehearsed. For the last three tours I’ve written some sort of musical introduction for the show.

JIM RILEY Rascal Flatts L 16” 40.64cm • D .605” 1.54cm

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Drums: Ludwig Classic Maple in mint green glass glitter finish A. 6.5x14 Black Beauty snare B. 11x14 floor tom C. 6x12 snare D. 8x10 tom E. 9x12 tom F. 16x16 floor tom G. 16x18 floor tom H. 18x24 bass drum

Sticks: Vater 5B wood-tip sticks, Splashsticks, retractable wire brushes, and Monster brushes Heads: Remo Coated CS X snare batters and Ambassador bottoms, Clear Emperor tom batters and Clear Ambassador bottoms, and Clear Powerstroke 3 bass drum batter and Ambassador front head with custom graphics by Remo Percussion: LP Ridge Rider cowbell

Cymbals: Sabian 1. 15" Artisan hi-hats 2. 20" Paragon China 3. 19" AAX X-Plosion crash 4. 18" AAX X-Plosion crash 5. 22" Medium Heavy Artisan ride 6. 20" AAX X-Plosion crash 7. 7" Radia cup chime 8. 21" Holy China 9. 18" O-Zone Hardware: Gibraltar Road series “spider” rack, Ludwig Atlas double bass drum pedal

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Jim’s Setup

Electronics: Roland Octapad, MacBook Pro laptop running Abelton Live, Akai MPD18 pad/ controller, Digidesign digi003R digital interface, two Clark Synthesis Tactile sound units

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Mics: Shure SM7B on top of snare and SM57 on bottom, Beta 98s on toms, Beta 91s inside bass drums and Beta 52s outside, KSM137 overheads, and SM58s for vocals and talkback Accessories: QwikStix stick holder and beverage holder, PureSound snare wires

VATER.COM May 2014 Modern Drummer 55

JIM RILEY classic Journey songs was really fun. MD: Your drumset has evolved over the years. Jim: When I started with Rascal Flatts in 2000 I made a conscious decision to make my setup as ergonomically suitable as possible. So here’s what I did. I put a throne on an empty drum rug and adjusted it to a height where I just felt comfortable sitting. Then I added the snare drum and put it at a height and angle that gave me full access to the drum and allowed me to comfortably play rimshots. Next came the bass drum. Now, as I sat there I noticed that my feet in their natural resting position don’t point straight forward—they angle out like a V from my body. So the first curveball on my kit was that the bass drum was not straight on, but was angled out and away from the snare. So I did the same thing when I positioned the hi-hat. I chose a four-piece setup because I wanted to have really good access to the ride, and I felt it was the smallest setup where I didn’t feel like I was sacrificing anything as far as voicings around the kit. Besides, that first year we kept all the gear in the belly of the bus, and I had to set up my own gear. So I wasn’t about to set up a giant kit and break it down by myself. MD: So when did you make the transition to a bigger setup? Jim: At some point when we were playing bigger shows the guys said, “Why don’t you bring out a bigger kit?” So I did, but every setup I used, no matter how big, had at its center all of the principles of a four-piece kit. MD: Speaking about setting up drums, tell us about your relationship with your drum tech, Craig Krolicki. Jim: Craig started with us in 2006, but I’ve known him since we both moved to town in 1997. Craig had some success as a player early on, but as the business changed he saw some of the gigs he was doing drying up, and not a lot of work was coming up in its place. When he came out with us, he’d never teched before, but to his credit he worked really hard to learn the craft. My kit changes yearly, and he has to memorize each one and execute its setup with

precision every night. We don’t do soundchecks, so I rely on Craig to have the drums set up, tuned, and soundchecked so that when I walk up on stage everything is good to go. MD: You use headphones live rather than in-ear monitors. How come? Jim: I first started using the headphones during my clinics—I do a lot of them in the afternoons—because I’m constantly switching between playing and talking. When I would go and play the show with in-ears, I’d miss the headphones a bit. So about four years ago I decided to use the headphones on the show, and I’m still doing it. MD: A moment ago you referred to the recent changes in the music business. What’s your take on the state of the industry in Nashville today, especially as it pertains to drummers? Jim: When I moved to Nashville in 1997, people were saying, “Man, you missed it,” because in the early ’90s country was huge. I felt like country had picked up the listeners that were disinterested in the Seattle grunge sound that was dominating the pop airwaves. So when Garth Brooks kicked open the door for country, business in Nashville was booming. The top session guys from that era were playing sessions six days a week, sometimes at double and triple scale. Every label was opening another imprint, and there were a ton of artists coming out. More artists means more songs, which means more demos being cut and ultimately more drummers on the road. It was a player’s market. But Napster and iTunes changed the music business radically. People were buying singles, not albums—if they were buying music at all—and that meant there was a whole lot less money going into the business. This meant fewer labels, fewer artists, and a whole lot less work for drummers in Nashville. This was the climate when I arrived in Nashville, but somehow I was able to adapt and create a niche for myself. So today when I talk to a young drummer—and now I’m the one who’s been in town for a long time—I try to be encouraging and not tell them they missed it. They didn’t grow up in the album-driven world that I did. This is all

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JIM RILEY they know, so, just like I did, they have to adapt. This has led to what I would call hybrid careers. Even some of the biggest session guys in Nashville are looking to take a road gig to supplement their successful studio career. MD: Let’s talk about the recording of the upcoming Rascal Flatts album. Jim: I’ve had various opportunities to record with Rascal Flatts over the years. But when the band decided to use producer Howard Benson, I really didn’t have any idea that I would get the call. Howard came out to see some shows, and he thought it would be good to try to capture in the studio what he

was hearing live. I don’t think Howard knew exactly what to expect from Rascal Flatts or from me in the studio. Since he’d never worked with us, he booked two days at Sunset Sound in L.A. as a way for him and the band to get better acquainted. Howard’s staff had hired a drum tech for the session, because he wasn’t sure what my ability to get my own sound was. So I went in the room, played a bit, and asked the engineer if he minded if I retuned the drums a bit, which was fine. MD: Did you have a say in which drums you’d be playing on?

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Jim: No. It was equipment that Howard was comfortable with and that he’d used on a lot of records he’d produced. All I brought with me was a stick bag. I tuned the drums a bit lower than they were and played for the engineer. He seemed happy, so we waited for Howard and the Flatts to show up. Once the guys got there, they started listening to some prospective songs until one jumped out at them. Then Jay looked at me and said, “Okay, chart it.” MD: Did you make a chart using the Nashville number system, like in your book? Jim: I did. Then we laid it down in about two takes. I think we surprised Howard with how quick we were. By the middle of the second day, we’d recorded five songs, which is a reasonable tempo. Some songs we had in just a few takes, and on others we spent quite a bit of time experimenting with the arrangements. There was one where the guys were satisfied with the first take, but I asked if I could do another run-through by myself so they would have more choices when editing, in case the direction of the song changed slightly as the recording evolved. It’s good to have options on the Pro Tools playlist. In pop music, a lot of magic happens after the red light goes off. Anyway, everything went great with Howard in L.A., so he called me to do an additional track when he came to record in Nashville. I brought my own drums on that one. MD: Can you talk more about the Nashville number system? Jim: The Nashville number system is such an important tool. As a working drummer, I was always looking for a charting system that was reliable, but everything I came across was a sort of chicken-scratch version that I couldn’t really hand to anyone else. If I was preparing a sub, I’d give them the chicken scratch and they’d say, “Thanks but no thanks,” and they’d end up writing their own charts. When I came across the Nashville number system, it looked a lot like the figured bass and Roman-numeral analysis that I’d studied in college. The biggest advantage is that I could write one chart and give it to the entire band.

MD: How did you end up writing a book about the system? Jim: The genesis of Song Charting Made Easy was actually Modern Drummer magazine. I wrote a two-part article on the system in 2007 and turned that piece in to my publisher at Hal Leonard. I had lofty goals writing that book. I really wanted to change the world—you know, change the way that musicians thought about music. The Nashville number system revolutionized the Nashville recording process and helped turn Nashville into the recording mecca that it is. I think it should be taught in every music program in America. MD: How does the system affect the part you play? Jim: With a number-system chart, you can see the entire form of the song laid out for you on one page. You see the verse, the chorus, the bridge, and the solo, so you can plan the most appropriate thing to play in each section. I’m trying to create drum grooves where if you took everything out but the drums, you’d be able to distinctly hear all the sections of the song based on my parts and the voicings in my right hand. You start to think about how each part of a song functions. What is a verse? A verse is a part of a song where the singer is telling a story. The best thing to do is stay out of their way and let them. So I’ll play a closed hi-hat and fewer fills. When you get to the chorus, that’s the refrain—that’s the repeat, the part of the song that they’re going to hear again. I have to elevate the energy there. So I may open up the hi-hat and play more fills to move the song along. I may see a bridge and a solo coming up, so if I move to the ride cymbal on the bridge, where am I going to go on the solo? If the bridge is a real elevation from the chorus, I might play a crash cymbal, or if it’s a real departure for the rest of the song and the energy has changed, then I may choose to play floor tom on the bridge and ride cymbal on the solo. It’s not so much that the music dictates what you should play, because sometimes there’s more than one right answer. The important thing is that you ask the right question, which is: What does the music require from me? The answer to that is what makes us all the

unique players that we are. MD: What do you feel are the qualities that make a player most desirable to a prospective employer? Jim: A great attitude toward the music and the other musicians is a great start. It’s very annoying to play music with people who feel like a genre is beneath them. If you dig into any style of music, you can find redeeming qualities. When you make the choice to become a professional musician, you have to turn in your “I’m only into making artful music” card. You must be willing and prepared to play all styles. That’s what I’m addressing with my new book, Survival Guide for the Modern Drummer. I’m trying to help players be ready for virtually any style of music that they may encounter in the real world. Another concept that I preach throughout my teaching is quality of sound, whether it’s how to strike a timpani or how not to play on the nodes of the accidental bars of the marimba. When it comes to pop drumming, I’m a big proponent of playing rimshots on the snare drum. It creates a distinctive sound and leaves enough room underneath to play ghost notes that can contribute to the groove. Something else I often tell players is to play their toms louder during fills. In most cases fills are supposed to elevate the energy level, and it’s important to keep that energy up all the way through the fill. MD: Do you bury the bass drum beater in the head or let it bounce off? Jim: For pop music I bury the beater. The biggest reason I do that is for consistency. Some players who don’t bury the beater tend to inadvertently play extra notes in between the notes they’re trying to play. I was one of those players, and for me burying the beater has given me a much more consistent sound. MD: You play with such conviction. Can you talk about that? Jim: I feel like I’m the luckiest guy on earth to be able to do what I do for a living, because I love what I do. The people that have hired me to play with them are letting me into their musical world, and they do this because they understand that I really care about the music. It’s one thing to be a great player May 2014 Modern Drummer 59

JIM RILEY but another thing to be really passionate about the music you’re playing. And it doesn’t just apply at the highest levels on the biggest gigs. I try to play every gig I ever play with that same passion and conviction. The people that hire me deserve that. When I would be playing in an empty club with two people sitting at the bar, I would always think, What if one of those guys is the person who offers me that gig of a lifetime? Think about it that way, and you’ll realize that you should play every gig like it’s the most important one you’ll ever play. MD: Teaching seems to be a big part of your life. Jim: It’s something I’ve always done and always loved. The process of constantly breaking down for my students what’s most important actually makes me a better player. I’m grateful for the gifts that I have and all I’ve been able to accomplish with music so far, and I really enjoy helping other musicians get to that level as well. MD: Tell us a little about your Drum Dojo lessons. Jim: I have a great schedule with Rascal Flatts, where we basically play weekends. That leaves the early part of my week free to teach. I’ve created an environment where instead of teaching halfhour lessons, which is the norm for middle school– and high school–age kids, I teach one-hour group lessons. With an hour I can teach snare drum, keyboard, and drumset all in the same lesson and keep my rate affordable for kids. It’s a very rewarding program, and all of the students so far that have stuck with me through their senior year have gone on to study music in college. MD: Has technology changed the way you teach? Jim: My iPod is the nerve center of my teaching. I have a cue system where everyone is wearing headphones and can hear my instruction over the microphone. I use the iPod to play classic recordings as well as musicminus-one-style tracks. Even my metronome is on the iPod. I also encourage the kids to bring their iPhone with them so they can record a one- or two-minute micro-lesson on what we’ve

covered, as well as on what they should be practicing. I have them text-message me videos of them working on things, and I’ll give them feedback. MD: You taught a drum line this year. Jim: I did. It was intimidating at first, because I hadn’t written drum-line parts for twenty years. But as I got into it, it all came back to me. MD: Did you march? Jim: I marched with the Velvet Knights in 1989, and I did five years in the North Texas drum line. It was a great experience because it takes your hands to a level that you may not have known even existed. It also helped me with listening, which is a huge part of a successful drum line. MD: Tell us about your clinic program. Jim: I’m not a superhuman-type drummer; the concepts I work with are very simple. The clinics are interactive, and I’ll bring people up on stage. That doesn’t always go as planned, and you have to think on your feet. But as the attendees watch the player that has gone up on stage, they see themselves up there and they tend to pay attention. The main thing is for me to make sure a person is leaving with something that improves them as a player that day. Sometimes young players are looking for complicated things, but I’ll say, “Hey, young fella, if you play this simple fill, people will look at you like you really get the music.” It’s put upon me to combine my ability to play and teach, and help other people try to attain the same type of happiness in their career as I’ve had in mine. MD: When you were younger, did you envision yourself even playing country music? Jim: When I was a kid I would go to concerts like David Lee Roth, AC/DC, or even Stevie Wonder and say, “I wanna do that.” But the musical landscape changes and the gigs you aspire to aren’t there or are already taken. As I was looking for a career in music, I saw Nashville as an extremely livable city with amazing musicians, and I thought that those were the kind of people I wanted to be around. My dream was always to make great music with great musicians, and that’s what I’ve found in Nashville. May 2014 Modern Drummer 61

Steven Schick So strong was his teenage attraction to modern percussion music that he outright defied his parents in order to dive headfirst into the budding genre. As a recent retrospective concert makes clear, today his name is nearly synonymous with the craft. Story by Will Romano • Photos by Bill Dean

I

n some cultures the concept of the doppelgänger is interpreted as an omen of bad luck. Occultists, mystics, and armchair psychiatrists all view visions and dreams of twins as signs of spiritual discord or epic struggles between the forces of good and evil. For Steven Schick, distinguished professor of music at the University of California, San Diego, and one of the solo percussion field’s most revered interpreters, meeting his cosmic counterpart was a haunting experience he hasn’t easily forgotten. “I don’t think I’ve told this to anyone,” Schick says, “but when I was playing some concerts in Paris in June [2013], I met my twin crossing the street.” The drummer’s

mirror image was middle aged, wore intellectual-type glasses, and carried a sweater over his shoulder and a newspaper under his arm. He was American, as far as Schick could surmise, and seemingly the product of some alternate reality. “It would appear we were very similar but followed

out of science classes on his way to sabotaging a future in medicine, and pursue the career of his dreams—the art of solo percussion. “That guy crossing the street is me if, at age eighteen, I had not gone into music,” Schick says. “It was so bizarre to see how

“I see yoga as inseparable from practicing. They are one and the same. My goal is to play this music into my seventies and eighties, the way pianists do.”

62 Modern Drummer May 2014

different life paths,” Schick says. Schick’s father, an Iowa farmer, never wanted the musician’s life for his son. In fact, he expressly forbade it, provoking the rebellious youngster to double down, flunk

much difference music has made to my whole worldview, about whom I’ve fallen in love with, about what I listen to.” For Schick this chance encounter wasn’t a harbinger of doom but a reminder of the

many people playing this music.” Although Schick remains a member of a rare breed, he’s far from extinct. In fact, these days aspiring percussionists and composers alike seem more willing than ever to receive his rhythmic revelations. Case in point: Schick performed and hosted a pair of concerts (titled “Origins”

and “Responses”) and a panel discussion in early 2014 at Columbia University’s Miller Theatre in New York City. The events were designed to celebrate the pioneering percussionist’s sixtieth birthday and to present a loose historical chronology of the development of solo percussion music, which included a mix of early avant-garde and modern works by Xenakis, Stockhausen, John Luther Adams, and David Lang, among others, and world premieres of compositions by Nathan Davis and Lei Liang. The concerts’ subtext, however, alluded to Schick’s symbiotic relationship with the genre at large. The percussion trailblazer predates the oldest piece performed for the program, and both he and the style of performance he continues to champion have evolved roughly within the same time frame, each being shaped by the cultural and musical revolutions marking the last six decades. The innovative twentieth-century and early twenty-first-century pieces in Schick’s repertoire are products of radical departures Courtesy of CF Peters

religious-like “conversion” he experienced, decades ago, when he was first introduced to solo percussion. “I was like Paul the Apostle on the road to Damascus,” Steven says. “I was as fervent as you can imagine. I couldn’t stop talking about solo percussion or thinking about it. I was consumed by it.” Arguably, in the last twenty years the world of solo percussion has grown exponentially and drifted ever so slightly into mainstream culture, thanks, in part, to Schick, who’s commissioned and premiered more than 150 new pieces, as well as collaborated with the Bang on a Can All-Stars and juggled job descriptions from performer to educator to symphony conductor. Charting the trajectory of the field without Schick’s presence would be sheer speculation. One thing is certain, however: The solo percussion genre would certainly have fared worse had Schick continued his medical studies. Sure, many modern drummers are familiar with Iannis Xenakis’s lively and mildly ethnic compositions; Harry Partch’s philosophical “corporeality” and wholesale rejection of Western tuning; the roaring silence of John Cage’s “27' 10.554" for a Percussionist”; the siren blasts of Edgard Varèse’s “Ionisation”; Karlheinz Stockhausen’s 1959 masterwork, “Nr. 9 Zyklus”; and Evelyn Glennie’s extensive output. But for the better part of the twentieth century, unaccompanied percussion was hardly a thriving field. “I think that there were many years in which I may have been the only person, particularly in America, playing solo percussion pieces,” Schick says. “I’m not saying that this genre would have disappeared without me, but if you attended an American classical music concert in the mid-1980s, you didn’t find very

“Intellectually demanding? I would say Ferneyhough’s ‘Bone Alphabet.’ It took me about 1,200 hours to learn.”

May 2014 Modern Drummer 63

STEVEN SCHICK from traditional approaches to writing notation and are brought to life via unconventional choices in instrumentation, fluid physicality on stage, an experimental spirit, and accelerated learning methods. Yet despite the level of precision and dynamism inherent to Schick’s rhythmic facility, there’s something undeniably accessible, witty, and ultimately animalistic about the percussionist’s work. It’s these very same primal aspects that, perhaps, distinguish Schick’s field of expertise from other disciplines of contemporary and classical music study. MD was recently honored with the opportunity to speak at length with Schick about his life and career and the field of solo percussion. MD: Do you think the profile of the solo percussion field has been raised in the last couple of decades? Steven: It used to be that you had to convince people it was worth listening to. I mean this in a general way, but you did this in a sort of vaudevillian approach: “Look what that crazy guy can do,” and that was at least one step closer to something interesting. That is not quite what we want, but I think it feels like it’s equalizing with respect to the way that people listen to other instruments. MD: Can you give an example? Steven: One day I was playing in Washington, D.C., at the National Gallery of Art, and I got an email from somebody who, at that point, was with the Marine Corps band and wanted coaching on one of the pieces I commissioned. I thought, Okay, this thing that I thought was as far to the fringe as it could have been twenty-five years ago has clearly moved to the mainstream. In addition, you find every university percussion program, or nearly every one, dealing seriously with this kind of music. MD: Talk about your performances at Columbia University earlier this year. Steven: One of the reasons for the event is that I’m turning sixty this year. In fact, the oldest and first serious piece, in my opinion, that was written for solo percussion is younger than I am. I was five when the first piece on that program was written. I came along a generation after the very first of those percussionists. MD: What were some of the most mentally and physically challenging pieces to perform? Steven: Michael Gordon’s piece “XY” is probably the most physically challenging. It’s fifteen minutes of just full-out drumming in constantly shifting 64 Modern Drummer May 2014

polyrhythms. One hand is [playing] in six, and the other is in five. “XY” means one hand is getting louder while the other hand is getting softer. There’s this constant phase crossing of one polyrhythm against another. Intellectually demanding? I would say Brian Ferneyhough’s “Bone Alphabet,” which is the uncontested winner in that category and calls for seven undefined sound sources; adjacent instruments should not be of the same material. It was written for me, but it took me about 1,200 hours to learn and memorize the piece of nine or ten minutes in duration. MD: How long did it take you to generate the technique required to perform these pieces? Steven: Well, that’s a fantastic question. When I began being interested in solo contemporary music, which started with my being interested in solos—although that is certainly not the only thing I do—the genesis of the whole genre was recent enough that there wasn’t an established technique. Looking at a piece like “Bone Alphabet” [first performed in 1992] that has this incredible density of rhythms, you need four sticks going at once to perform it. There wasn’t a codified set of techniques. You had to make it up. MD: Stockhausen’s “Zyklus” was scored with no true beginning or ending. Some refer to it as a “circular” piece. Steven: All of those pieces in the “Origins” program have a level of freedom given to the interpreter that percussionists weren’t used to. There’s also this weird thing that happens where you study the piece and you start realizing that certain decisions that seem theoretically possible just don’t work. What “Zyklus” allows you is the freedom to start where you’d like. There are moments in which Stockhausen writes absolutely everything specifically, but it’s a little bit like the Alan Shepard suborbital flight: It’s a taste of what it would be like to launch yourself out into free space and never come back. “Zyklus” is also the first serious piece of solo percussion I saw performed. MD: There seemed to be a narrative thread running through “Origins” and “Responses.” Steven: The thing about “Origins” is that it’s music that comes from the late 1950s through the early 1970s. “Responses” was my personal responses to those pieces. I’m glad to hear you say that about the narrative. It’s true. I didn’t commission the pieces in the first concert, but I stood behind them. I hope this doesn’t sound maudlin: I defied my parents to become a

musician. I took this unbelievable step off the cliff when I did that, and the vehicle that I was riding in at that moment was those early pieces. In a way, they were more personal. MD: What does a piece such as “Psappha” mean to you? Steven: You’ve asked me about two of the pieces which, I mean, completely and utterly changed my life. The first case was Stockhausen’s “Zyklus,” and the other is Xenakis’s “Psappha,” which I’ve played upwards of 800 times over the last thirty years. If there’s a true magnetic north for my career as an interpreter, it’s “Psappha.” MD: Let’s talk about your setup. You’ll likely say that the choice of drums depends on the piece you’re playing or what the piece calls for. Steven: You get both. Many of the pieces are scored specifically, and others are of free instrumentation. For instance, I bought a bottle of Glenfiddich whisky in the mid-1990s, and it has traveled everywhere with me. MD: You were an established solo percussionist when you joined the Bang on a Can All-Stars in the early 1990s. How did you transition from your solo work to a group setting? Steven: I was an avid drumset player when I was nineteen, but when the group was founded I was in my late thirties and hadn’t played drumkit in a long time. I was, in essence, uniting these two aspects of my life, which I really kept separated. MD: What can you tell us about your earliest experiences with music? Steven: My three great loves growing up were sailing, rock music, and classical music. I was never going to be a musician. My father essentially forbade it. “No son of mine,” that kind of thing. My dad was a farmer, you know? I grew up in Iowa. I was in a pre-med program in school until the discovery of this music that was in its infancy. It compelled me to say, “I’m getting in on the ground floor.” I transferred from a small private school to the University of Iowa. By the sheerest of luck I discovered a hotbed of interesting music in Iowa City, which was one of the leading areas of the country in the early 1970s, from that standpoint. MD: You stress the physicality of playing in your first book, The Percussionist’s Art: Same Bed, Different Dreams. How do you keep yourself in shape? Steven: For quite a long period of time, something approaching twenty-five years, I’ve had a consistent yoga practice. I always see that as inseparable from practicing

itself. I don’t think, Oh, I’m going to exercise, and then I’m going to practice. They are one and the same. My goal is to play this music into my seventies and eighties, the way pianists do. I also walk, mostly by myself. In fact, I walked from San Diego to San Francisco several years ago, by myself. MD: You walked from San Diego to San Francisco? Steven: I proposed to my wife, who was living in San Francisco at the time, and I walked up for that purpose. It was about six and a half weeks of walking—twenty miles a day. One funny story was when I met this woman who stopped me and said, “What are you doing?” I was out in the middle of nowhere, and she told me that she was a psychiatrist and that, you know, “I can help you.” Basically, “You must be nuts!” On the musical side, I’ve always thought that noises we hear outdoors are not very different from the noises we make on stage. The work of composer John Luther Adams, who I’ve worked with, is informed by natural sounds. As an art of noises, the world of percussion is very similar to just taking a walk and trying to figure out where you are simply by hearing what’s around you. I’ll be writing about that experience in my next book. MD: If it’s not too personal, what happened with your first marriage? Steven: Tolstoy was right: “Happy families are all alike; every unhappy family is unhappy in its own way.” It’s a little hard to describe. I feel personal about that. We were married for twenty-five years. I’m still on very friendly terms with my first wife, and when I think about these pieces, I learned them when I was with her. I owe her and give her an enormous amount of credit. MD: Are any pieces difficult to perform because of the memories they evoke? Steven: I think the pieces I play are like amber in the way amber traps all these natural things that have tried to go through it. Still, I never really identified so strongly with a piece of music that I thought, I can’t play it because it evokes a painful memory. I can’t say that “Psappha” is “our song,” although when I met Brenda [Steven’s second wife], and this was after a long period of living alone, the first thing she heard me play was a James Tenney piece. She was a lawyer and worked in land conservation. She didn’t have a musical background at all. She came to me with tears in her eyes and said, “This is the most beautiful piece of music.” It was just a noise that started soft and got louder and got soft again, and I thought, This is the girl for me. May 2014 Modern Drummer 65

DRUM COUNTRY

TRAIN BEAT VARIATIONS

MUSIC KEY

A Dozen Ways to Play One of the Most Essential Drumset Grooves by Jim Riley

T

he train beat is a must-have in your bag of tricks. While it’s most commonly used in country and bluegrass settings, with very little digging you can find examples of it in a multitude of genres, from rock to pop to metal. Although all of these patterns can be played with sticks, I think you’ll enjoy experimenting with some additional implements, like brushes and rods. The trickiest aspect of the basic train beat is the fact that the backbeat, which we are normally accustomed to playing with the left hand, is played by the right hand (or vice versa if you’re a lefty). For all of these patterns, make sure to play the accents strong while keeping the inner beats relatively low. For the notation, I’m using an X on the snare to represent an accent. This can be played in the middle of the drum, but my recommendation is to play it as a rimshot. Here’s the most basic train beat.

As the music calls for it, you can use a more syncopated bass drum rhythm under the steady hand pattern.

These next variations are based on rudiments and are quite useful. The first uses a double-stroke sticking and is great for up-tempo songs. The trickiest part of executing this groove is getting comfortable with playing an accented note followed by an unaccented note with the same hand.

This next version makes use of a paradiddle to give the groove a great feel at medium to fast tempos.

For most drummers, that’s the only train beat they know, but there are many variations that you can draw upon depending on the tempo and feel of a given song. One way to add interest to your part is to use a four-bar pattern. Here’s one based on the previous example.

This pattern is just one grace note away from being a flam tap. It works really nicely at medium and fast tempos.

For slower tempos, try using the following groove. I like to play the right hand off-center and the left hand in the middle of the drum. The key is making the left-hand backbeat a flam, as notated. To give more dimension to your groove, you can add a drag.

This variation, which uses a triplet, can add some nice “slop” to grooves at medium and slow tempos.

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In the ’70s there were some country albums recorded with two drummers, one playing the train beat and one playing in a half-time feel. This next groove mimics that effect by using the hi-hat to imply the half-time feel with a foot splash, which can be accomplished by playing the middle of the hi-hat footboard with your heel.

This next pattern lets you maintain the continuity of the train beat on the snare with the left hand, while adding the color of the ride cymbal with the right. Note that while both hands are playing 8th notes, the accent patterns are different. The snare accents are on the backbeats, while the ride cymbal accents imply a half-time feel.

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This is a train beat I use on ballads that have a subdivided 16th-note feel. I like using a brush-type implement, like the Vater Monster Brush, for this groove.

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All of these beats can be played as written or with a swing feel, as the music dictates. These variations are taken from my upcoming book, Survival Guide for the Modern Drummer.

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OPEN-HANDED PLAYING

MUSIC KEY

Discovering Rhythms Inside the Paradiddle by Claus Hessler

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esides being one of the most popular rudiments, the single paradiddle is a good example to illustrate the overlap between linear and rudimental drumming, and it’s great for working on an open-handed approach (right hand on the snare and left hand on the hi-hat, or vice versa if you’re left-handed). The following sixteen building blocks are all derived from paradiddle stickings. The first and third columns substitute one part of the sticking with the bass drum.

The next steps are to come up with combinations of those building blocks and to add some dynamics. To do this, use patterns from the first and third columns of the building blocks for counts 1 and 3 of a 4/4 groove, and patterns from the second or fourth column for counts 2 and 4. Almost any combination sounds interesting. Here are two options.

Inverted paradiddle variations can be combined in ways to imply the different Afro-Cuban clave rhythms. Here’s one that outlines a 3-2 son clave.

Here’s one that outlines a 2-3 son clave.

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This combination has hi-hat accents that imply a Brazilian partido alto pattern.

Start slowly, play with a click, and maintain the openhanded position. At first, combine just two blocks: A and B, C and D, E and F, and so forth. Then expand the patterns by combining four building blocks of your choice. Use the generated patterns as grooves or as one-bar fills. You should also experiment with dynamics by applying ghost notes and accents. Create some patterns of your own and write them down. And be sure to use both straight and shuffled 16thnote feels. For more on the topic, check out the book Open-Handed Playing, Vol. II: A Step Beyond (Alfred Music Publishing), which I wrote in collaboration with Dom Famularo. Feel free to contact me through claushessler.com if you have any questions. Enjoy the journey! Claus Hessler is an active clinician in Europe, Asia, and the United States. He has written three books: Open-Handed Playing, Vol. I ; Open-Handed Playing, Vol. II: A Step Beyond; and Daily Drumset Workout. For more, visit claushessler.com.

AROUND THE WORLD

SAMBA STARTER Unlocking a World of Options by Adam Osmianski

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ith the growing popularity of world-music programs in American universities and the continued popularity of Brazilian music in the jazz community, it’s surprising how limited drummers’ vocabularies seem to be when it comes to the rhythms of the samba. When asked to play a samba, most often you’ll hear something like this:

Not that there’s anything wrong with that pattern; it’s a perfectly good groove. It’s just that too often that single variation is viewed as the “correct” way to play samba. But is there a correct way to swing? Is there a correct way to rock? Isn’t it more about capturing a feel? It’s also important to note that samba isn’t just one rhythm; it’s more of a family of musical styles. The word samba is really as broad as the word jazz. You can trace the history of what we now refer to as the jazz samba (seen in Example 1) to the Brazilian drummer Edison Machado. When he was just seventeen years old, Machado accidentally created a new way of playing the rhythms of the samba batucada (“batucada” refers to an ensemble of percussionists playing together) that would pave the way for grooves played with artists like Antonio Carlos Jobim and João Gilberto. One night in 1949, while playing caixa (snare) in a samba band, Machado broke his drumhead. So as not to interrupt the groove, he immediately started playing on a ride cymbal with his right hand, while he used his left hand to add syncopated accents on a tom. It was at that moment that samba no prato (“samba on the cymbals”) was born. A few years later, Machado, now playing drumset, released Edison Machado é Samba Novo, which many consider to be the most important instrumental album to come out of Brazil. That said, there are some rhythms of the traditional samba batucada that we can apply to the drumset to help us create a convincing samba groove, but the most important part is to capture the right feel. Here are two of Machado’s samba patterns from his record.

Now compare those to the different rhythms of a traditional samba batucada.

70 Modern Drummer May 2014

MUSIC KEY

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Metal

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FUSION Vinnie Colaiuta

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JAZZ

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STUDIO Vinnie Colaiuta

Ahmir “Questlove” Thompson Matt Chamberlain Gorden Campbell Greg Morrow Victor Indrizzo

R&B Aaron Spears

Pete Lockett Taku Hirano

Pedrito Martinez

PERCUSSIONIST

Gil Sharone Rich Redmond

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by Neil Peart

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13

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As you can see, a traditional samba batucada has a number of instruments played by different people, so it’s physically impossible for us to re-create it entirely on the drumset. Don’t look at that as a problem. Instead, think of all the freedom you now have to come up with your own personal take on it. Choose the parts of the batucada that you think are most appropriate for the music you’re playing and that will best capture the feel you’re looking for. There are many players who took the aforementioned freedom to a whole new level. Marcio Bahia played with Hermeto Pascoal in the 1980s, and he plays with a quintet led by bandolim player Hamilton de Holanda. Bahia often uses a tamborim (a small, timbale-like batucada instrument) in his drumset playing. And he has a fresh approach in the way he uses brushes, as well as with his cymbal and snare patterns. Here are just a few of the many ways Bahia plays samba.

Again, the most important part of playing a samba with authenticity is the feel. The examples explained here are meant to give you some fresh ideas to explore, but the only way to truly capture the feel is to listen to the music. Here’s a list of some great albums that feature drumset samba. Edison Machado Edison Machado é Samba Novo (Edison Machado) /// Elis Regina and Antonio Carlos Jobim Elis & Tom (Paulinho Braga) /// Som Três Som/3 (Antonio “Toninho” Pinheiro) /// Airto Moreira Seeds on the Ground (Airto Moreira) /// Arismar Do Espírito Santo Foto do Satélite (Alex Buck, Edu Ribeiro) /// Fabio Torres, Paulo Paulelli, and Edu Ribeiro Corrente (Edu Ribeiro) /// Flávio Chamis Especiaria (Tutty Moreno) /// Marco Pereira and Hamilton de Holanda Luz das Cordas (Marcio Bahia) /// Hamilton de Holanda Brasilianos (Marcio Bahia) /// Gabriel Grossi Diz que Fui por Aí (Marcio Bahia) /// Nosso Trio Vento Bravo (Kiko Freitas) /// Hamleto Stamato Trio Speed Samba Jazz 1, 2, and 3 (Wilson Meireles)

Adam Osmianski is a freelance drummer from Pittsburgh. For more, visit adamosmianski.com.

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STRICTLY TECHNIQUE

RHYTHM AND TIMING Part 3: Single 16ths by Bill Bachman

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his month we’re going to focus on the four different single 16th notes, which are “1,” “e,” “&,” and “a.” Playing just one note may seem simple, but it can be quite a challenge to isolate “e” and “a” and play them accurately and in the pocket where they feel great. The exercises will focus first on playing the single 16th notes as accents among taps. Then we’ll move on to playing the rhythms with the spaces between them left open. The exercise with the accents and taps won’t be too challenging to read, but it can be difficult to play using the perfect stick heights. Strive for high, strong accents and low, light taps, and make sure they are perfectly matched between the hands. The second exercise will be more challenging, as there’s a lot of space between the notes, and there’s a lot of starting and stopping of the sticks. Playing these exercises with perfect rhythmic accuracy, great dynamic contrast, and a smooth musical feel is deceptively hard, especially at very slow and very fast tempos. It is crucial to play these exercises with a metronome while tapping your foot and counting out loud. Most musicians hate counting out loud, as it’s a humbling test of rhythmic understanding, coordination, and comfort, but I strongly encourage you to try it. It’ll make a big difference in building

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your internal clock. First, count all of the notes played out loud, and then count just the quarter notes. If you can do this with a natural flow, then you’ve truly integrated the rhythms as part of your vocabulary. Be sure to use the correct stickings. Some of them will flow into and out of the check patterns smoothly, which makes it much easier to play with rhythmic accuracy. Also, be sure to play the exercises with the left hand leading, to help build balanced hands and confidence playing with the weaker side. And play the patterns at all tempos. The first exercise has an accented check pattern leading into the four rhythms played as accents surrounded by 16th-note taps. The taps will help guide the accented rhythm to the correct placement. You must know which stroke type is coming up next (full, down, tap, or up), or else you’ll become “tongue tied” and play with either too much tension or a lack of accent/ tap stick-height clarity. To help, we’ve labeled each stroke type (F = full, D = down, T = tap, and U = up). Exaggerate the high and low stick heights for maximum dynamic contrast, but avoid pounding the downstroke accents into the drum. They need to relate to the flowing stream of accents in the check patterns. The exercise is in a 4-2-1 format, where you play four of each variation, then two, then one, and repeat.

Now repeat the same concept without the taps placed between the one-note rhythms. The check pattern will flow directly into only the first two rhythms, and the two last rhythms will flow back into the check pattern. For those, simply let the sticks glide over the barline and land on the next note. The challenging part is negotiating the dead time between the rhythms, where you’ll have to start and stop the stick at just the right time in order to play the next subdivision accurately and in the pocket. You have to learn how to “play the space” in your head by thinking of all of the 16th-note subdivisions.

At this point we’ve covered all of the possible one-, two-, and threenote 16th-note rhythms that occur within the space of a quarter note. For the final two parts, we’re going to shift to triplets. Until then!

Bill Bachman is an international drum clinician, the author of Stick Technique (Modern Drummer Publications), and the founder of drumworkout.com. For more information, including how to sign up for online lessons, visit billbachman.net.

JAZZ DRUMMER’S WORKSHOP

SHIFTING SANDS Rhythmic Transition Examples by Steve Fidyk

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ransitioning from one time signature, tempo, or musical style to another is a very common technique in moderndrummer.com modern jazz. These shifts are often referred to as metric modulations, where a specific note value from the current tempo becomes the quarter-note pulse in a new tempo. Tony Williams, Jeff “Tain” Watts, Vinnie Colaiuta, and Ari Hoenig are masters of this concept. In order for a transition to work out smoothly, it’s important for you to be as articulate and clear as possible with your rhythms. As you approach the shift, you need to provide a foundation that makes the band comfortable, without disrupting the flow of the time. Our first example illustrates a transition from a medium swing feel in 4/4 to a double-time swing superimposed over the existing time. This is a signature beat of the legendary Philly Joe Jones, and you can hear the groove in action on the tune “Blue Train” by John Coltrane. As you practice the beat, focus your attention on the hi-hat, keeping its sound and rhythmic placement as consistent as possible. The hi-hat is the core element that carries the double-time feel.

Our second example comes from the great Art Blakey, on the Jazz Messengers’ recording of “Caravan.” Blakey toggles between 6/8 Afro-Cuban and double-time swing in such a way that the dotted-quarter-note pulse in 6/8 becomes the half note in the double-time feel. The transitions take place at the end of each A section of the form, and the bridge stays in double-time swing.

The next example features the work of Tony Williams on the Miles Davis recording of “Footprints,” from the album Miles Smiles. Williams superimposes 4/4 over the existing 3/4 time signature with his ride cymbal, which creates a 4:3 polyrhythm in support of the melody.

What follows are five additional transition examples to practice. Work through them slowly, with a metronome, until you have control of each metric shift. Be patient, and have fun. Ballad Transition to Swing In this example, the quarter note becomes the half note.

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Bossa Nova to Samba Again, the quarter note becomes the half note.

Waltz to Afro-Cuban 6/8 In this last example, the 8th note remains consistent through the shift.

Ballad to Waltz In this transition, the quarter note becomes the dotted half note.

7/4 to Swing Here, the dotted quarter note becomes the quarter note.

Steve Fidyk has performed with Terell Stafford, Tim Warfield, Dick Oatts, Doc Severinsen, Wayne Bergeron, Phil Wilson, and Maureen McGovern, and he’s a member of the jazz studies faculty at Temple University in Philadelphia. For more info, including how to sign up for lessons via Skype, visit stevefidyk.com.

IN THE POCKET

DUBSTEP DRUMMING Part 1: The Basics by Donny Gruendler

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ubstep is a genre of electronic dance music known for its head-nodding beats, dark atmosphere, and ear-shaking bass. It draws on many other genres, including Jamaican dub, hip-hop, jungle, drum ’n’ bass, and 2-step, while fusing them into a unique blend. Dubstep originated in the U.K. and has become a popular form of production for mainstream radio, TV spots, and club mixes. Its main drumming hallmarks are rigid half-time beats, straight 16th to sextuplet hi-hat permutations, and wobble bass, all of which play off hardedged synth melodies. Many drummers are now being asked to create dubstep grooves live, whether on an acoustic kit or on a hybrid setup incorporating acoustic drums and electronics. This two-part article will help you understand what’s expected of you when someone asks you to play dubstep, including the standard grooves, winding hi-hat patterns, and DJ-style delay effects.

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To create a syncopated thump, 16th-note kick drum patterns can be added.

This can be augmented with accents on the hi-hat. Here’s the original pattern with some accents added.

THE 2-STEP Dubstep rhythms range between 138 and 142 beats per minute. They are syncopated and often make great use of glitchy stuttering patterns. In its early stages, dubstep was more percussive, with influences from 2-step drum patterns, which typically feature a kick on the first and third beats and syncopated rhythms applied to other elements of the kit, including the hi-hat, snare, woodblocks, and tambourine. These rhythms can be phrased as either straight or swung. Tracks with half-note kicks are perceived as being slower than the traditional four-on-the-floor beat used in house and techno music. This example is the basis for all 2-step patterns.

Placing the kick drum on the “&” of beat 3 is a common variation.

THE DUBSTEP BEAT Unlike the 2-step, which emphasizes beats 1 and 3 on the kick, a dubstep pattern emphasizes only the 1. This gives the impression of an even slower tempo, and it’s paired with a snare or handclap on beat 3 to form a half-time groove. The remaining elements (hi-hat, shakers, etc.) stay in the normal meter, which creates a double-time feel. This 8th-note example is the basis for all dubstep patterns. 78 Modern Drummer May 2014

Here’s the same accent pattern over the 16th-note kick drum phrasing.

You can also play 16th notes (with or without accents) on the hi-hat.

For a rhythmic departure, quarter-note triplets can be employed. Here’s that with the kick on beat 1 and the snare on beat 3.

Here’s a variation with an additional kick placed in the triplet.

WOBBLE BASS The most common melodic characteristic of dubstep is the wobble bass line. This extended bass note is manipulated digitally with a low-frequency oscillator that controls additional parameters of a synthesizer, including volume, distortion, and filters. These permutations are then altered to create combinations of quarter-, 8th-, 16th-, and 32nd-note rhythms in straight and triplet subdivisions.

prevalent. Typically, the drum groove will drop out, or the existing intro track will start to fade into the background. After a brief pause, the bass drop overwhelming the track continues throughout the rest of the section. The drop is also often placed alongside a sonically heavier drum groove. The third section, called the riff, often features a repeating modulated bass part. Whereas most bass drops will include at least three different musical notes, the riff section relies on repeating the intro motif, alongside new elements. Rather than the bass drops’ “wub, wub” sound, bass in the riff will sound more like “yob, yob.” The final section, the outro, is usually a repetitive vamp where the tune either fades out or comes to a crashing halt. Many dubstep artists also return to a normal 2-and-4 backbeat, which implies a double-time feel over the original half-time melodies and motifs.

THE REWIND/RELOAD This is a standard technique often used by DJs when a song seems to be especially popular on the dance floor. The DJ will spin back the record, by hand without lifting the stylus, in order to play the track again from the bass drop.

SONG STRUCTURE

ALL TOGETHER NOW

Dubstep usually features an intro, which establishes the sonic textures and motif. Characteristics often include a sparse or incrementally built drum groove, an arpeggiated synth pattern or textural pad, and a vocal breakdown. The second section is the bass drop. This is what made dubstep popular, and it’s where the wobble bass is most

Using all of the elements discussed, I’ve created a basic dubstep tune for you to download and use for play-along practice (available at moderndrummer.com). Note that a D.S. al coda is used to repeat the bass drop and riff, which then leads into the last intro reprise and outro.

Donny Gruendler is vice president of curricular development at Musicians Institute in Hollywood, California. He has performed with DJ Logic, Rick Holmstrom, John Medeski, and Rhett Frazier Inc. For more info, visit donnygruendler.com.

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UP & COMING Matt Draper

Rachel Fuhrer by Stephen Bidwell

Rod Maurice

If you try to pigeonhole Ume, you’ll fail miserably. The same can be said for the band’s hard-hitting drummer, whose road to rock ’n’ roll glory has been anything but predictable.

R

achel Fuhrer hasn’t seen her central-Texas home very much in the past twelve months. Ume, the Austinbased band she joined in 2011, has spent

but the live show is all about frontwoman Lauren Larson’s shredding guitar and ethereal vocals, to which Fuhrer plays a worthy foil. Rachel anchors the

“I’d never done an album with a Grammy-winning producer before. My feeling was, ‘I’m going to be this guy’s canvas.’” much of the past few years on the road, sharing tours with groups like Helmet, ...And You Will Know Us by the Trail of Dead, and the Toadies, and gaining admirers like the members of Jane’s Addiction, who invited Ume to play the Lollapalooza after-party in 2013. Ume’s sound garners diverse comparisons to post-hardcore and shoe-gaze bands, 86 Modern Drummer May 2014

music with a muscular touch that points to her metal and hardcore background, but somewhere inside that power is a church-trained musician, a Berklee grad, and a longtime fusion head with a seemingly inescapable connection to the legendary drummer Rod Morgenstein. Fuhrer grew up on the South Shore of

Long Island, New York. Once, when she was nine, she was at a Christmas party at Tiki Recording Studios with her bass-playing dad, who recorded there regularly. Rachel seemed bored, so studio owner Fred Guarino suggested she “play around” in the drum room. Though she’d never taken any lessons, she went in and had a go. “How long have you been playing drums?” Guarino asked when he returned to check in on her. “Remember when you told me I could come in here and play?” “No, I don’t mean right now…I mean how long have you been playing drums for?” “I’d never played drums before that,” Fuhrer says. “So that was where it began.”

Rod Maurice

TOOLS OF THE TRADE Fuhrer plays a Gretsch Catalina Maple set, including an 18x22 bass drum, a 9x12 tom, and 16x16 floor tom. Her snare drums include a 5.5x14 vintage Ludwig Supra-Phonic, a 5x14 vintage Ludwig Acrolite, and a 6x14 Pearl brass free-floating model. Her Soultone cymbals include 14" Custom Brilliant hi-hats, 18" and 20" Extreme crashes, and a 22" Extreme crash/ride. Her heads include a Remo Controlled Sound Reverse Dot Coated snare batter and Remo Hazy Ambassador bottom, Remo Coated Emperor tom batters and Clear Ambassador bottoms, and an Aquarian Super-Kick II bass drum batter and Black Regulator front head. Rachel’s sticks are Vater Nude 5As. Her hardware includes Pearl stands and PowerShifter Eliminator pedals, and she uses a Tama Rhythm Watch metronome.

MD: You obviously have a natural ability at the drums. Did you join your school band? Rachel: No, none of that. I played at church. My dad always had bands, and he was really into classic rock, so I grew up listening to the Beatles, Jethro Tull, Neil Young. The neighborhood that my parents grew up in, I grew up in too, and by the time I came along it was very Jamaican, Dominican, Haitian. My dad was the bass player in our neighborhood church, and they had a gospel choir led by this rad lady who played piano. I started playing at church as the drummer, which was kind of cool. I learned a lot that way. They would improvise like crazy, because they would just sing and sing and sing until one in the afternoon. MD: Were you playing in rock bands back in high school as well? Rachel: Well, when I was in high school we moved to North Carolina, and I got made fun of for my accent, which made me even shyer than I already was. I was playing in bands with my dad and his buddies, though, and they were into fusion, electric jazz…you know, the “F-word.” I didn’t join a rock band with kids my age until I was a senior in high school. MD: Did you take private lessons? Rachel: I started taking lessons and learning to read music when I was in high

school. Also, Tiki Recording had some big clients, like Taylor Dayne and Brian Setzer, and Rod Morgenstein recorded his first instructional video there. So the guy who owned the studio sent me that videotape early on, and I would watch it over and over again. I started getting into bands like the Dixie Dregs and Mahavishnu Orchestra and looking for method books in Modern Drummer while figuring out stuff on my own. In North Carolina I hooked up with this guy Doug Morgan, who played in the Steve Morse Band with [original Dregs bassist] Jerry Peek, as well as with a Raleigh band called 3PM. Doug was pals with Rod Morgenstein, oddly, and he started teaching me technique and reading. We worked mostly out of David Garibaldi’s Future Sounds book. MD: Then you went to music school. Rachel: I ended up going to the North Carolina School of the Arts. That program was all orchestral stuff. It was a good education. I stayed there for three years, but I knew I didn’t want to do orchestral music. I just wanted the theory and the training, but that ended up being a stepping stone for me to go to Berklee, where—full circle—I ended up studying under Rod Morgenstein. I studied more intensively with Jackie Santos Jr.,

though—that guy was killer and a vital influence. MD: Other than Rod, who are some big players in your world? Rachel: I would say John Bonham is number one. Elvin Jones. Billy Cobham. Bill Bruford. Josh Freese—that guy is amazing. Also a bunch of these really heavy dudes, like Tomas Haake from Meshuggah. It’s hard for me to pinpoint just a few. I go through phases of pretty much everything. MD: Adam Kasper [Soundgarden, Foo Fighters] produced the latest Ume album, Monuments. Rachel: He’s awesome. I’d never done an album with a Grammy-winning producer before. My feeling was, “I’m going to be this guy’s canvas. He knows what he’s doing, so whatever he says, I’m going to try it.” It was cool, man. We kind of flew through the drum tracks. I was out of there in a week. We wrote stuff in the studio; there were things we wrote on the spot, and some arrangements got changed. MD: What gear did you play on the record? Rachel: I used what they had at the studio, including an old Slingerland kit and a whole bunch of old Zildjian ride cymbals. I don’t think I used any real crash cymbals; they were all rides with rivets and stuff. We tried a ton of snares too, like some Keplingers and Black Beauties. MD: You’ve been teaching drums for a while. How do you manage with Ume being so busy? Rachel: I’m lucky—I hang on to a lot of adult students while I’m on tour, and we hook back up on the other end. I just load them up with stuff to work on while I’m gone. My kids are tougher to hang on to, because if they’re not practicing they’ll jump into something else or they’ll seek out the teacher at school. MD: You also have musical side projects. Rachel: I have a post-hardcore band called We’ll Go Machete. That gets really mathy and angular; people say it sounds like Quicksand or Fugazi. MD: Is there anything you just can’t be without on the road? Rachel: I’m a big cyclist, so I always miss my bike on tour. I would love to bring a little folding bike out with me. Other than that, loading up with NPR podcasts and Cheez-Its takes care of the driving.

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TAKING THE REINS DRUMMER/LEADERS MAKING THEIR MARK

RAY MARCHICA A DIFFERENT VIEW

BRIAN ADLER HELIUM MUSIC PROJECT

This slinger gets inside tunes on demand, but his star shines brightest when he’s leading his own jazz units. A longtime favored NYC drummer, Ray Marchica shuttles between Broadway, television sessions, and various bands about town. His second disc as a leader features a superb sextet with a two-sax front line, boasting an earthy sound. Marchica flashes chops when appropriate but is satisfied to sock it and lock it. That’s clear from the get-go, when a flam pickup launches headlong into a pocketed, bluesy shuffle. On the Latin-tinged cuts, he’s tight with percussionist Café, creating an edgy yet oil-smooth momentum. On the drum solo “Eccentricity,” Marchica expertly wields dowel sticks, stressing touch and color over power. The devilishly angular meter-shifter “Rat City” lets the groover buckle his funk shoes, and the catchy “Song for a Rainbow” finds him paying homage to Art Blakey with marching rolls morphing into soulful, hung-back swing. Honest and spirited. (Sons of Sound) Jeff Potter

The author of the ambitious World of Percussion method book presents his concepts on record. Drummer/percussionist Brian Adler makes an understated entrance on “Esa Pantera Bajo la Luna,” his cymbals so soft and washy that you might not realize he’s even there. Then suddenly the music shifts into a section of sax, upright bass, and handclaps that ultimately gives way to a waltz-y pulse that allows the drummer to bring the full colors of his kit to the fore. Smooth and loose, Adler shows his stuff without showing off, and this variety of odd-meter modern-jazz arrangements and short interludes includes his subtle work on shakers, congas, tabla, and bells. (Circavision Productions) Ilya Stemkovsky

THE PETER ULRICH COLLABORATION THE PAINTED CARAVAN

SIMON PHILLIPS PROTOCOL II

More than a dozen years after his previous album as a leader, the now “formerly of Toto” drummer gets back to fusion business. Twenty-five years ago, drum legend Simon Phillips recorded his first instrumental solo project, Protocol. To celebrate its twenty-fifth anniversary, Phillips gathered original material he’s been developing over the fourteen years since his last release, Vantage Point, and organized a stellar group of players, including guitarist Andy Timmons, keyboardist Steve Weingart, and bassist Ernest Tibbs, to bring the instrumental jazz-rock material to life. The seasoned drummer focuses on groove, melody, and superb group improvisation to create an inspiring collection of funky, jazzy tracks. It’s a treat to hear the unit’s thoughtful interplay without the music becoming a jam fest or battle of superchops. The creative drumming concepts over the ostinatos of “Enigma” and “Octopia” remind us why Phillips has been so in demand for more than four decades. (simon-phillips.com) Mike Haid

In the ’80s, he brought colorful ornamentation to the influential goth-rock of Dead Can Dance. His work is still full of wonder and surprise. Peter Ulrich is concerned with the song first on The Painted Caravan, a grand mix of folk and world music, though each track boasts an interesting array of percussion, including djembe, Turkish cymbals, and temple blocks, which sets the music apart from your typical bare-bones acoustic coffeehouse fare. Guest vocalists dominate throughout, and there’s a ton going on, though it never feels cluttered. The sparse percussion parts on the Irish sea shanty “Hanging Man” and the Baroque “Fanfare for the Lost Tribe” are just enough. And dig the trashy cymbal overdubs and cool swells on “Tempest.” (City Canyons/AIS) Ilya Stemkovsky

VIRGIL DONATI IN THIS LIFE

The Allan Holdsworth collaborator boldly goes where few drummer/composers are capable of going. When it comes to masterful technique and advanced rhythmic explorations, no one drummer may be more cutting-edge than Virgil Donati. On this instrumental tour de force of progressive jazz-rock fusion, Donati creates rhythmically dense compositions that are just as melodically and harmonically challenging for the stellar cast of players he has assembled. Fans of Planet X, U.K., and Allan Holdsworth will feel happily at home, while followers of Donati will be captivated by a musical approach to metric modulation and a keen sense of interplay. Virgil’s amazing hand/foot technique, dynamics, drum tones, and rhythmic knowledge are a joy to behold throughout the collection. The opening drumnastics of the title track establish an amazing mastery of the kit, evolving into nonstop rhythmic detours that keep the listener constantly guessing where the time has shifted. (virgildonati.com) Mike Haid May 2014 Modern Drummer 91

RICHARD MOORE DIALECTICS: EXPRESSIONS IN SOLO PERCUSSION

The percussionist, whose interests lie as far afield as orchestral, jazz, world, and early-music rhythms, tackles one sound at a time on his latest. Each piece on Dialectics focuses on a different member of the percussion family, including bass drums (the title track), drumset (Max Roach’s “The Drum Also Waltzes”), cimbalom (Bartók’s “Andante”), and marimba (Bach’s Cello Suite No. 3). The music throughout is wonderfully recorded and executed with precision. Though at times the album sounds a bit more like a master class than a disc you’d throw on for recreational listening, Moore’s expertise in handling it all with flair is impressive. For a taste of otherworldly flavors, check out his fleet improvisation on the Persian santur, a Middle Eastern hammered dulcimer. (alisonmelville.com/pipistrelle.htm) Ilya Stemkovsky

NEXT TIME IN TAKING THE REINS

Ulysses Owens Jr., Jeff Ballard, Rudy Royston, and more

GERRY GIBBS THRASHER DREAM TRIO

READERS POLL WINNERS Hall of Fame

Carmine Appice Educational Book

Daily Drumset Workout A Day-to-Day Guide to Better Drumming By Claus Hessler (00-20156US) Book & MP3 CD $24.99

DVDs

Zigaboo: The Originator of New Orleans Funky Drumming

Joe McCarthy’s Afro-Cuban Big Band Play-Along Series, Volume 2

By Zigaboo Modeliste (93-DV10015401) DVD $19.95

Groove Development and Chart Interpretation By Joe McCarthy (98-40824) DVD $19.99

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92 Modern Drummer May 2014

The jazz and fusion burner hits hot and heavy on his ninth outing as a leader. On Thrasher Dream Trio, Gerry Gibbs enlists two of his heroes for a knockdown, drag-out jazz session. He displays muscular chops and a hyperactive mindset throughout the fifteen cover and original tracks, featuring pianist Kenny Barron and bassist Ron Carter. Who wouldn’t strut his stuff with these two jazz giants? Gibbs swirls brushes sweetly on his ballad “The Woman on the TV Screen,” then switches gears, storming à la Tony Williams on “The Eye of the Hurricane.” He swings, solos, and generally slugs it out—you can almost see the steam rising from his drums. (Whaling City) Ken Micallef

OTHER RECENT DRUMMER-LEDS TO CHECK OUT Jonathan Lundberg Nebula /// Marcel Bach Sonic Waves /// Pat Gesualdo’s Iceland Iceland /// Yonrico Scott Quest of the Big Drum /// Pete Sweeney Snare Drum Solos and Études /// Shirazette Tinnin Humility: Purity of My Soul

MULTIMEDIA

RATINGS SCALE

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ADVANCED FUNK STUDIES AND CONTEMPORARY DRUMSET TECHNIQUES BY RICK LATHAM DVDS LEVEL: ALL $9.99 EACH (SOLD SEPARATELY)

Drummer/educator Rick Latham put his passion for highly developed funk drumming to paper over thirty years ago with the now classic Advanced Funk Studies and Contemporary Drumset Techniques instructionals. With the advent of video, Latham created onscreen companions to his award-winning books. Now available in digital format, the technique-shaping ideas, including excellent linear patterns, are as relevant today as they were back when drum gurus such as Gadd, Mason, Porcaro, Clark, and Garibaldi brought this exciting funk format to the forefront of pop music. Grooves, fills, and solos from the original books are explained and played by Latham, along with several full-band performances showcasing musical examples of the genre-altering drumming concepts. There’s a treasure trove of chops-building technique to be tapped here. (Alfred) Mike Haid

DREAM THEATER LIVE AT LUNA PARK

DVDS (2) LEVEL: ALL $17.98 This first live Dream Theater DVD featuring Mike Mangini proves to be a testament to the strength of the core members of the band overcoming adversity, and it also chronicles a warm welcome for the drummer. It’s a win-win for the band and the fans, as there’s an undeniable chemistry on display that cycles from the stage to the crowd and back again. The complexity of current material such as “Bridges in the Sky,” “Lost Not Forgotten,” and “Outcry” is delivered with spot-on perfection. It’s obvious that Mangini has found a home with the fans when he delivers a dynamic solo that sends them into prog pandemonium. The two-disc live set includes many DT classics, as well as the entire Dramatic Turn of Events collection. Disc two features bonus concert footage, recaps the dramatic drummer auditions that led to Mangini’s hiring, and details Mike’s initiation into the band. (liveatlunapark.com) Mike Haid

May 2014 Modern Drummer 93

In Memoriam

Chico Hamilton oreststorn “Chico” Hamilton, who played an integral role in the formation of the West Coast–based “cool jazz” style of the 1950s, died this past November 25 at age ninety-two. He was never a flashy drummer in terms of technique, but his smooth sense of swing was perfect for the more laid-back type of jazz that developed in his hometown of Los Angeles. Hamilton was an original member of the Gerry Mulligan Quartet, which many credit with starting the “cool” movement. He later formed his own “chamber jazz” ensemble with the unique instrumentation of guitar, flute, cello, bass, and drums. That group achieved much popularity in the ’50s and can be seen in two movies: The Sweet Smell of Success (1957) with Burt Lancaster and Tony Curtis, and Jazz on a Summer’s Day, a documentary about the 1958 Newport Jazz Festival. Much like his contemporary Art Blakey, Hamilton became known as a leader who could spot and nurture young talent, and over the years such prominent players as bassist Ron Carter, saxophonists Eric Dolphy and Charles Lloyd, and guitarists Jim Hall, Gabor Szabo, and Larry Coryell got their start with Chico. Rolling Stones drummer Charlie Watts cites Hamilton as his first influence in those years. “The first thing I heard that I wanted to emulate was Chico Hamilton playing brushes on ‘Walkin’ Shoes’ by Gerry Mulligan,” Watts told MD in a 1990 interview. “For years I just played brushes on a banjo head.” Years later the two drummers became friends, and they played together on a track from Hamilton’s 2001 album, Foreststorn, called “Here Comes Charlie Now.” Hamilton, in fact, was very proud of his use of brushes. “When I was about fourteen or fifteen playing with a band, the leader made me use brushes,” he recalled in a 2001 MD interview. “Every time I’d go to pick up the sticks, he’d say, ‘Put them sticks down, boy. Let me hear those brushes.’ It really paid off, because I spent about fifteen years playing for singers, and brushwork was the name of the game—being able to lay down a groove and stay quiet enough underneath them.” Hamilton also had an impact on Peter Erskine. “I was directly influenced by a recording he made for the Impulse label

94 Modern Drummer May 2014

Rick Malkin

F

in 1966, called The Further Adventures of El Chico,” Erskine says. “It was lightweight fare but somehow really great. Chico played bossa nova and samba in the coolest way. He was able to get inside of the beat and stay there, just simmering, but he could also add some terrific rhythmic counterpoint. He kept it all very focused. Listening to it again after so many years makes me realize I owe Chico Hamilton that much more respect and thanks.” Erskine cites another way in which Hamilton influenced him: “He played single-headed toms, and that functioned as jazz’s permission to play our drums that way—a model I followed until Mel Lewis chewed me out in a DownBeat interview for doing the same!” Hamilton’s use of single-headed toms was originally born out of practicality during World War II. “It was hard to get calf heads,” Chico told MD. “So if I would go through a batter head, I’d replace it with

the head from the bottom. I got so used to hearing the sound that way that when Gretsch started making my drums for me, that’s what they made.” Born in 1921, Hamilton began working professionally with such musicians as Dexter Gordon, Illinois Jacquet, and Charles Mingus while still in high school. He toured with Lionel Hampton before serving in the army during World War II, and then he worked with the bands of Jimmy Mundy, Charlie Barnet, and Count Basie before becoming the house drummer at Billy Berg’s nightclub in L.A. in 1946. He toured with singer Lena Horne before joining Mulligan’s group in 1952. In the mid-’60s Hamilton became active as a composer for advertising jingles and movie and TV soundtracks, while continuing to lead his own band. In the mid-’70s he went back on the road full time as a bandleader. He expanded from the cool-jazz sound and incorporated elements

of free jazz, hard bop, and jazz-rock fusion into his group’s style. He continued leading bands until shortly before his death, and until late in 2012 he was appearing in Manhattan with his group Euphoria, which he formed in 1989. He also recorded throughout his life. In 2011 he released an album titled Revelation on the Joyous Shout label. He had recently completed Inquiring Minds, which is scheduled for release this year. Hamilton received a National Endowment for the Arts Jazz Masters Award in 2004 and a Kennedy Center Living Jazz Legend Award

in 2007. He became involved in education as well, teaching at the Parsons New School for Jazz in New York City and at Mannes College at the New School. One class he taught was titled Analysis of Rhythm. What did he feel the students needed to learn? “They don’t understand where their pulse is,” he explained in 2001. “Take a note—quarter note, half note, whatever. In that note, your pulse is either in the middle, up front, or behind. To familiarize yourself with that ahead-of-the-beat feeling, think in terms of Latin music, where everything is on top. If you’re right down the middle, that’s like Jo

Jones; he started that with the Basie band, who outswung everybody. If you’re down the middle, it’s very easy to groove with the bass player, if he plays down the middle. If you play on the end of the beat, that’s like Erroll Garner, who played real delayed. “It took me a long time to get into teaching,” Chico said. “Once I did, I realized that this was my way of giving something back, because music has been very good to me. So if I can help some young players develop into good musicians, that’s my reward.” Rick Mattingly

Ricky Wellman R

icky “Sugarfoot” Wellman may be most widely known as jazz master Miles Davis’s last touring drummer, but perhaps more important is his role in the genesis of go-go music, a marathon funk style indigenous to the Washington, D.C., area. Wellman passed away at his home in Newport News, Virginia, this past November 23, from pancreatic cancer. He was fifty-seven. Ricardo Dalvert Wellman was born on April 13, 1955, in Bethesda, Maryland, and grew up in D.C. and Prince George’s County. His father, Frank, was the original drummer in the Soul Searchers from the late ’60s until his premature death in 1970, and taught his son to play drums very early. Ricky contracted polio as a youngster, which kept him from playing outside, but he was never far from the drums. By age thirteen, Wellman had a regional hit with the Maryland R&B group the Jaguars, “Crazy Thing”/“Banana Fanna.” Before he graduated from high school, he had recorded with gospel singer Myrna Summers and toured with Peaches & Herb. In 1976 Wellman landed the gig with Chuck Brown and the Soul Searchers after sitting in for the end of a set (and eventually the rest of the night). In 1978 the band had a national hit with “Bustin’ Loose,” but the classic go-go sound may have been the result of the players vamping on stage over a feel similar to Grover Washington Jr.’s “Mister

Magic” while waiting for a late Chuck Brown to arrive at the gig. Brown showed up and scratched out some rhythm guitar, rapping over the beat, and the band continued to play the rhythm under every cover tune. Wellman worked in the D.C. area into the ’80s, recording and playing with Experience Unlimited (E.U.) and releasing go-go standards with Brown. In 1987 a D.C.-raised member of Miles Davis’s stage crew played Davis a tape with Wellman on it. Davis tracked down Wellman, who ended up touring with the trumpeter until 1991 and appeared on albums including Amandla, Dingo, and the posthumously

released Live Around the World. After Miles’ passing, Wellman recorded with fellow Davis alum Kenny Garrett (Prisoner of Love, Black Hope) and toured with Santana, Herbie Hancock, and Wayne Shorter. In February 2013 he was inducted into Go-Go Radio’s Hall of Fame. “The thing that made Ricky such a phenomenal, gifted talent,” Wellman’s cousin and Soul Searchers/E.U. trumpeter Steve “Too Tall” Coleman said in an interview with Washington City Paper, “was that once Ricky joined your band, the band got better.” Stephen Bidwell

May 2014 Modern Drummer 95

Both Sides Now “I

call my drumkit ambisymmetrical, meaning ‘both same,’” Long Island–based drummer/educator Frank Perry says. “I worked on the concept for about two years, with the guidance of my teacher and mentor Dom Famularo.” The arrangement of the vintage Slingerland kit, which also includes a Premier Signia snare and Sabian cymbals, “allows me to play traditional right-handed, open right-handed, traditional left-handed, open left-handed, or any combination I can think of,” Perry explains. “The Off-Set double bass pedal allows me to set up a DW hi-hat stand on either side to be foot operated. “I started this setup because I was having problems with my right leg, so for the last musical I performed I set up lefthanded and discovered—much to my delight—that I was able to play lefty. After having knee surgery I told Dom about the concept I had, and he encouraged me to run with it. The result is discovering new ways to play things ‘ambisymmetrically.’” Learn more at frankperrymusic.com.

Rick Malkin

NATE MORTON

COMING UP IN MODERN DRUMMER of The Voice

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MISAMORE IS LEGACY

Steve Misamore is part of a proud tradition of Zildjian drummers who have shaped the classic A sound for generations. We have redesigned the curvature and weights of our current line to dial into the essence of the classic A sound. Discover the new, enhanced sound of our A Zildjian line and the entire Family of A Cymbals - A Zildjian, A Custom, and FX. Steve Misamore of Dierks Bentley plays A Custom ZILDJIAN.COM

SOUND LEGACY